SLOevent

Okusiti Slovenijo, okusiti dogodek / Taste Slovenia, Taste the Event > 06 / Ko dogodek potrebuje streho­ /­ When an Event Needs a Roof > 20 / Zvok izpod rok strokovnjakov iz zakulisja / Professional Sound from behind the Scenes > 32 / Od idejne zasnove do popolne izvedbe / Froma a Mere Concept to a Perfect Realization > 54 / Ambasadorji slovenske kulinarike / Ambassadors of Slovenian ­Cuis­i­­ne­­ > 84 / Priročna védenja za organizatorje / Useful Know­­le­d­ge for the Organizers > 98

Ne omejujte se na obstoječe lokacije, z nami si jo lahko določite sami.

Prozvok - scenske rešitve za prireditve.

Izposojamo prireditveno opremo: 2.500 m2 prireditvenega odra, 10 koncertnih aluminijastih streh, aluminijaste konstrukcije, 2 kilometra usmerjevalnih ograj, naletne ograje, scenografsko pohištvo, sedežne garniture, plamenice, konferenčne in aluminijaste stole, barske, vrtne in banketne mize, prte, srajčke za stole, omogočamo banketno poseditev do 1.500 obiskovalcev.

Prozvok, d.o.o., Mavsarjeva cesta 26, 1357 Notranje Gorice, Slovenija _ info@prozvok.com _ Fotografija: Martin Cvetko

54 84 98

Uvodnik / Editorial

SLO event - Okusiti Slovenijo, okusiti dogodek Taste Slovenia, Taste the Event

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Komentar / Commentary

Ko dogodek potrebuje streho When an Event Needs a Roof

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Dobrega režiserja režiserja odlikujejo bogate izkušnje A Good Director Is the Product of Rich Experience

Zvok izpod rok strokovnjakov iz zakulisja Professional Sound from behind the Scenes

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Svetla prihodnost čarovnika svetlobe Bright Future of the Lighting Magician Proteus Noir PR in promocija PR and Promotion

Od idejne zasnove do popolne izvedbe From a Mere Concept to Perfect Realization

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SLO scena / Slovenian Scene Bleščeča preobleka dogodka Brilliantly Dressing the Event

Ambasadorji slovenske kulinarike Ambassadors of Slovenian Cuisine

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Mojstri ognjenega spektakla / Masters of Flying Fire Sejmi za strokovnjake / Professional Trade Shows

Priročnik / Manual

03 Vsebina / Contents

06 20 32

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O dogodku ABOUT AN EVENT Besedilo/TextDušan Matičič What is an event? It is a two-way phenomenon, where two poles meet in one spot, at one event: the visitors as the final “users” of the events and, on the other side, people who made it possible.

This includes the performers, screenwriters, scenographer, directors, organizers, PR people and, of course, those who are the actual backbone of the event by taking care of security, stages, tents, stands, sound system, sound and special effects and catering.

Organization of events is a rising star in the marketing space.

The word event itself has to be redefined. We have to know that organization of events is the most intimate form of marketing approach, this is a perfectly controlled activity targeted for a specific audience. We could call it experimental or niche marketing where we are consciously controlling all conditions with the purpose of pleasing the products we are presenting, whether it is a new shampoo or The Killer’s concert.

Today, private and public events are carefully planned. Image is the key and you have to be good to attain it. Not just good, you have to be an expert, driven by interest for creating something more, driven by passion. The right idea and the expertise are the basis for every musical, cultural, corporative or any other event.

In the sense of new approach toward planning of events, we found a need for collaboration which is even more important than ever before. We also realized there is a need for presentation options.

How would a client know what we are capable of? Photographs, videos and reports were no longer enough. That is why last September we started the story of four: four companies joined their strength and decided to show the world what an event can accomplish and what it takes to get it off the ground. SLOevent was born, a concept, a network of people who think alike and who try to raise Slovenian (and foreign) events to a whole new level and are, at the same time, aware that the time for improvised shaky stages with some local boys and čevapčiči is over. Today, organization of events is big business, which requires a lot of knowledge and experience. The magazine you are holding includes stories from successful Slovenian companies that help create events, each in their own way.

Urednik / Editor: Dušan Matičič Uredniški odbor / Editorial Board: Zoja Bevc, Uroš Colja, R. R. Kodžak, Dušan Matičič Izvršno uredništvo, vsebinska zasnova, produkcija / Editorial, contextual design, production: Balaram, d.o.o.

Oblikovanje, prelom, priprava za tisk / Design, Ad, Layout, Press Preparation: Re:Format - kreativna pisarna / Re:Format - Creative Office Izdajatelj / Publisher: C2, d.o.o.

Tisk / Print: Vek, d.o.o.

Naklada / Edition: 4500 izvodov / copies Datum natisa / Date of printing: marec 2010 / March 2010 Lektura in prevod / Proof reading and Translation: Katarina Čuk, Bojana Iskra, Ana Belac, Nela Vukobrat

05 Uvodnik / Editorial

Kaj je dogodek, event? Gre za dvostranski pojav, saj se na enem mestu, na enem dogodku srečata dva pola: na eni stra­ ni obi­sko­valci kot končni »uporabniki« dogodkov in na drugi strani ljudje, ki dogodku vlijejo življenje. To so nastopajoči, scenaristi, scenografi, režiserji, organizatorji, vsi, ki so odgo­ vorni za stike z javnostjo, in seveda tisti, ki s skrbjo za varnost, odre, šotore, tribune, ozvočenje, zvok in posebne učinke ter nenazadnje za kulinariko tvorijo stvarno hrbtenico dogodka.

Organizacija dogodkov je vzhajajoča zvezda v vesolju tržništva.

Besedo dogodek, event (ne verjamem, da slovenski jezik poz­ na pravi prevod zanjo), je potrebno ponovno osmisliti. Zave­ dati se moramo namreč, da je organizacija dogodkov najbolj intimna oblika tržnega pristopa, gre za povsem nadzorovano dejavnost, ki cilja na izbrano občinstvo. Lahko bi mu rekli tudi eksperimentalno ali nišno tržništvo, kjer vse pogoje zavestno nadzorujemo z namenom, da bi ugodili proizvodu, ki ga pred­ stavljamo, pa naj gre za predstavitev novega šampona ali kon­ cert skupine The Killers.

Tako zasebne kot javne dogodke se danes snuje na veliko.

Ugled je ključnega pomena in izgradiš si ga lahko le, če si do­ ber. Ne zgolj dober, biti moraš strokovnjak, ki ga pri delu žene zanimanje za ustvarjanje presežkov, žene ga strast. Prave za­ misli in strokovnost so osnove za vsak glasbeni, kulturni, kor­ porativni ali drug dogodek.

Z vidika novega osmišljanja dogodkov se je pokazala potreba po še izrazitejšem sodelovanju, kot smo ga bili vajeni do sedaj.

Pokazala se je tudi potreba po predstavitvi zmožnosti. Kako naj naročnik dogodka ve, kaj zmoremo? Fotografije, video posnet­ ki in reportaže niso več dovolj, zato se je septembra lani zgodila zgodba štirih. Štiri podjetja, ki so združila moči in se odločila pokazati, kaj vse dogodek zmore, obenem pa pokazati, koliko dela je potrebno vložiti vanj. Rodil se je SLOevent, zasnova, mreža podobno mislečih, ki se trudijo slovenske (in tuje) do­ godke dvigniti na višjo raven in se zavedajo, da so minili časi improviziranih majavih odrov, na katerem igrajo okoliški fantje, poleg pa se pečejo čevapčiči. Danes je organizacija dogodkov velik posel, ki zahteva obilico znanja in izkušenj. In v reviji, ki jo držite v rokah, boste našli zgodbe uspešnih slovenskih podjetij, ki ustvarjajo dogodke, vsako s svojim doprinosom.

Besedilo/TextDušan Matičič, Foto/PhotoUroš Mikelj, BOBO

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SLO EVENT Okusiti Slovenijo, okusiti dogodek

Ob svetovnih spremembah in posledicah, ki so jih te pustile na vseh področjih življenja, smo tudi v Sloveniji spoznali, da potrebujemo spremembe in novosti v po­ slovnih stikih, protokolarnih srečanjih, svečanih ter drugih dogodkih, sprejemih in pogostitvah.

V podjetjih Hiša kulinarike Jezeršek, Expo biro, Prozvok in Festival Novo mesto so se lotili novega načina promocije.

Podjetja so združila moči in pripravila predstavitveni do­ godek s celostno ponudbo in s prikazom možnosti za nove oblike poslovnih in drugačnih srečanj, druženj, organizaci­ jo dogodkov, (ob)kongresnih dejavnosti in sprejemov.

Predstavili so se na prireditvi, ki so jo pripravili posebej za poslovne partnerje in bodoče naročnike svojih storitev.

TASTE SLOVENIA, TASTE THE EVENT

07 SLOevent

As the world changes, the consequences affect all spheres of life. In Slovenia we have realized we needed changes and novelties at business contacts, protocol meetings, formal events , receptions and catering.

At Hiša kulinarike Jezeršek, Expo biro, Prozvok and Festival Novo mesto companies, they have undertaken a new way of promotion. The companies joined their efforts to prepare a presentation event with an integral offer and the oppor­ tunity to demonstrate the options available for new forms of corporate/other meetings, gatherings, organizing events, congress activities and receptions. They introduced them­ selves at an event, prepared especially for their business partners and potential future clients of their services.

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Zgodba o dogodku se začne že dolgo pred končno izvedbo z idejnim konceptom, pri katerem sodeluje vrsta strokovnjakov. Na samem kraju dogodka Okusiti Slovenijo, okusiti dogodek v Sori pri Medvodah se je vse začelo s praznim travnikom, na katerem smo lahko spremljali, kako nastaja dogodek. Prvi so bili na prizorišču strokovnjaki iz podjetja Prozvok, ki so začeli s postavljanjem prireditvene konstrukcije Alusfera Ambient, edinstvenega prototipnega prireditvenega prostora. Ob njih so strokovnjaki iz Expo biroja postavili novost na tržišču, prireditveni šotor s prozornimi stranicami in streho.

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The story of this event begins long before the final execution, it started with a concept which was created through the cooperation of a group of experts at Sora pri Medvodah, the very place of the Taste Slovenia, Taste the Event. It started with an empty meadow, from here we can follow through how the event came into being. The first people at the venue were experts from Prozvok company, they began to set up the Alusfera Ambient construction, presenting a unique prototype of the venue, right next to them the experts from Expo biro set up a novelty at the market, an event tent with transparent sides and roof.

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Na dogodku je zablestela Alusfera Ambient, spektakularni prireditveni prostor, ki ga je predstavilo podjetje Prozvok.

V podjetju Expo biro pa so prav za dogodek postavili edinstveno novost, prireditveni šotor s prozornimi stranicami.

Pravo načrtovanje zvoka je ključno za izvedbo dogodka, zato so za zvočno kuliso poskrbeli v Festivalu Novo mesto.

Izpod rok kuharskih mojstrov Hiše kulinarike Jezeršek pa so prišle tradicionalne slovenske dobrote, ki sledijo sloganu »Okusiti Slovenijo«.

Ko je bila streha dogodka postavljena, se je prizorišče začelo polniti. Mojstri luči so poskrbeli za nepozabno svetlobno kuliso, strokovnjaki iz Festivala Novo mesto pa so na dogodku pokazali, kaj zmorejo pravi čarodeji zvoka. Med pestrim dogajanjem na prizorišču dogodka so v bližnji Hiši kulinarike Jezeršek kulinarični virtuozi že pripravljali tipične slovenske kulinarične mojstrovine. V zadnjih trenutkih pred prihodom gostov je dogodek pripravljen na akcijo, ostane le še napeto pričakovanje gostov in zadovoljstvo ob njihovih presenečenih pogledih.

Alusfera Ambient: a spectacular event space that was presented by Prozvok company, truly shone at the event.

Expo biro company set up a unique novelty event tent with transparent sides especially for the event.

Sound planning is crucial for executing an event, therefore Festival Novo mesto took on responsibility for the music. The traditional Slovenian delicacies that followed the slogan “Taste Slovenia”, were created by the hands of cooking experts from Hiša kulinarike Jezeršek.

After the roof of the event had been set, the venue started to fill. Light experts provided an unforgettable lighting frame, while the Festival Novo mesto experts showed what real sound magicians are capable of achieving. During the various things that were happening at the event venue, the culinary virtuosos at the nearby Jezeršek Culinary House were preparing typical Slovenian culinary masterpieces. In the last moments before the guests arrived the event was all set for action, only the excitement at the expectation of guests was left, and the satisfaction at their astonished looks.

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Vsak dogodek je ustvarjen za obiskovalce, ki se morajo na njem kar najbolje počutiti. S kozarcem slovenskega vina v roki in ob sprem­ ljavi slovenskih jedi, ki sledijo sloganu »Okusiti Slovenijo«. Ob žonglerskih virtuozih in pihalcih ognja, v objemu nežne svetlobe in ob pogledu navzven, ki ga omogoča prozorni šotor, so se v sproščenem vzdušju predstavili predstavniki podjetij organizatorjev, glavni nosilci dogodka. Na dogodku so se zbrala tudi nekatera znana slovenska imena, za dobro vzdušje in dobro mero zabave pa so poskrbe­ li izkušeni voditelji in povezovalci programa, ki so glasbe in zabave željne goste povabili v edinstveno Alusfero Ambient.

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Each event is created for the visitors to enable them to enjoy themselves and feel the best that they can. With a glass of Slovenian wine in their hands and with the accompaniment of Slovenian dishes that follow the slogan “Taste Slovenia�. With a back drop of juggler virtuosos, fire blowers and in the embrace of tender light, and the opportunity to look outdoors, due to the transparent tent; the key people and the representatives of the organizers at the event were able to introduce themselves in a relaxed atmosphere. Attending the event were renowned Slovenian names that were presented with experienced hosts who took care to create a good athmosphere and also to present the entertainment and extend invitations to the guests that were eager for some music and fun at the unique Alusfera Ambient.

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Laser prereže temo, luči se zabliskajo, iz zvočnikov pa zadonijo krepki ritmi. Proteus Noir so bili glasbene zvezde večera, obiskovalci pa so se vidno zadovoljni zabavali na plesišču ali pa se udobno namestili na udobnih sedežih ob robu svetleče Alusfere. Točno opolnoči je sledil kulinarični šok. Izpod stropa se je spustila miza z vsebino, ki pooseblja slovensko kulinariko. V Hiši kulinarike Jezeršek so za kulinarični vrhunec pripravili preprosto, a 100 % slovensko jed – kranjsko klobaso. Okusili smo Slovenijo, okusili do­ godek, okusili, kaj pomeni trdo delo organizatorjev dogodkov in okusili zadovoljstvo, ki ga profesionalni dogodek prinaša.

Okusili smo Slovenijo, okusili dogodek, okusili, kaj pomeni trdo delo organizatorjev in okusili zadovoljstvo, ki ga profesionalni dogodek prinaša.

15 SLOevent

We’ve tasted Slovenia, we’ve tasted the event, we’ve tasted what it means to work hard as the event organizer, and we’ve tasted the satisfac­ tion that a professional event brings about.

Lasers cut through the darkness, the lights flash, strong rhythms resound from the loudspeakers. Proteus Noir were the music stars of the evening, the visitors were obviously pleased while they had fun on the dance floor, or they relaxed in the comfortable seats at the margin of the luminous Alusfera. At exactly midnight there followed a culinary shock, a table, representing Slovenian culinarics, was lowered from under the ceiling. As the culinary climax Jezeršek Culinary House provided a simple, but 100 % Slovenian dish – Carniola sausage. We’ve tasted Slovenia, we’ve tasted the event, we’ve tasted what it means to work hard as the event organizer, and we’ve tasted the satisfaction that a professional event brings about.

www.sloevent.si

Gor na hrib!

Up Onto the Hill!

Besedilo/TextGoran Završnik, Kamfest, Foto/PhotoKamfest

www.kamfest.si

A few years ago we were walking on our Mali Grad hill in Kamnik, we were quite a large group of youngsters, full of ideas, and we were dreaming about large festivals, about having songs and plays upon the hill, close to the stars; that would be something special.

The first stage and a roof were made of wood which we carried up the hill, six meter long beams were carried on our shoulder while the wooden panels we carried in pairs. The following year we had a large tent, and it felt like being at the ethnic costume festival.

The third year was the turning point, not only due to the program but because Martin and his boys (who were wandering around and gazing up the hill) joined us while we were desperately looking for a suitable staging for our first rented roof. It was at this point Damir and his company also joined us. The old petrol batten coughed and the stage was built. Hm, the boys are handy, they’re not afraid of heights and they come when you ask them. The balcony that they nearly knocked down with a truck, was patched up and now it looked even more beautiful than before, I thought. I waved at them, they didn’t wave back, the truck just carried them away from Kamnik, they knew quite well though, they would be coming back the following August with an additional truck.

In August they were back, they constructed not only one stage, but two stages and two roofs. Notwithstanding the old batten that not only coughed at moments but also fatally remained silent (you should have seen our hyperactive Igor Čulum, when his loudspeaker stopped on an ancient piece of rusty iron and leaned suspiciously), we carried half of the things up the hill by foot; by that time, with our hands down to our knees, even though Kamfest was a success, we said we’ve had enough, that this was the end, we can do it no more. The Prozvok crew nodded with understanding, patted us on our backs and they drove towards Brezovica with a cheerful song on their lips. Well, we’re familiar with the saying ‘never say never’, and before you know it the year was quickly around. Come on, you know that no one else was crazy enough to build a stage here (it was after the disastrous storm in Kamnik, when it nearly erased one whole village). And yet they came again. Only this time, on arrival their eyes were wide open with gladness. Instead of an old petrol batten and a group of scouts, a 60 ton car lift was awaiting them!

“Slack down, another one pull tight, and up we go!” And then the engine, the stage and aluminium. “Finished?” “No, there’s another truck”. “Stands?” “No, no, the stands don’t go up the hill”. »Fine!” “All done?” “No, the water tanks!” “Nine. Nine cubics of water to the top of the hill, you’re not serious!”

This year there will be yet another Kamfest with a whole lot of stages and roofs, and a lot of cheerfulness.

17 Festival

Smo se takole malo sprehajali nekaj let nazaj, kar zajeten kup mladcev, polnih zamisli, po našem malograjskem hribu in san­ jali o velikih festivalih. Da bi se pelo in igralo gor na hribu, to bi bilo nekaj posebnega. Na hribu blizu zvezd. Z razgledom.

Prvi oder in streha sta bila lesena. Šestmetrske grede smo zno­ sili na ramenih, »bosanke« pa po dva. Naslednje leto smo imeli kar malo večji šotor in bilo je, kot da smo na Festivalu narod­ nih noš. Tretje leto je bilo prelomno. Ne samo po programu, ko smo namreč obupano iskali primeren oder za našo prvo najeto streho, se nam je na hribu pridružil naokrog begajoči Martin s svojimi fanti, ki so zrli gor v hrib. Damir in druščina.

Stara krovska letev na bencin je zakašljala in oder je bil zgra­ jen. Hm, fantje so priročni, ne bojijo se višine, pridejo, ko jim rečeš. Tisti balkon, ki so ga skoraj zrušili s tovornjakom, smo pa tudi zakrpali. Sedaj je še lepši, kot je bil prej, sem pomislil in jim pomahal. Oni niso mahali nazaj, kar odneslo jih je iz Kamnika.

A vedeli so oni dobro, da se bodo naslednji avgust vračali s še enim tovornjakom več.

Tako se je tudi zgodilo. Ne enega, dva odra in dve strehi so nam postavili. Kljub stari krovski letvi, ki ni več samo kašljala, ampak je na trenutke usodno obmolknila (morali bi videti hiperaktivnega Igorja Čuluma, ko je njegov zvočnik obstal sredi hriba na prasta­ rem kosu zarjavelega železa in se sumljivo nagnil), smo pol stvari znosili na hrib peš. Takrat smo z rokami do kolen kljub uspelemu Kamfestu rekli, da imamo dovolj. Da je konec, da ne moremo več.

In Prozvokovci so razumevajoče prikimavali, nas potrepljali in se s veselo pesmijo na ustih odpeljali proti Brezovici.

No, tisto o zarečenem kruhu poznamo in hitro je bilo leto naok­ rog. Dajte no, saj veste, da ni nihče drug tako nor, da bi pri nas postavljal oder (bilo je po katastrofalnem neurju v Kamniku, ko nam je skoraj zbrisalo eno celo vas). In spet so prišli. A tokrat so se jim oči razprle od veselja že ob prihodu. Namesto stare bencin­ ske letve in kupa tabornikov jih je čakalo 60-tonsko avtodvigalo!

Gurtne spodaj, še eno, zategni, gremo gor! In še motorji. In oder.

In aluminij. Končali? Ne, še en tovornjak. Tribune. Ne, ne, tribune ne gredo na hrib. V redu. Končali. Ne, še vodni rezervoarji. Devet.

Devet kubikov vode na vrh hriba. Saj niste resni.

Letos bo spet Kamfest. In kup odrov in streh. Pa kup dobre volje.

Ko dogodek potrebuje streho When an event needs a ROOF

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INTERVJU/INTERVIEW: rado vrAčko, POSLOVNI DIREKTOR EXPO BIRO/ BUSINESS MANAGER OF EXPO BIRO Besedilo/TextDušan MatičičFoto/PhotoAleksander Štokelj in Expo biro

Le redka slovenska podjetja se lahko pohvalijo s sodelovanjem na največjih svetovnih prireditvah in Expo biro je prav gotovo eno izmed njih. Expo biro je največje podjetje v Sloveniji in jugovzhodni Evropi na področju postavitve montažnih objektov in sodi med večje proizvajalce proizvodov iz kompozitnih tekstilij.

Only few Slovenian companies can pride themselves on having cooperated in the largest world events, and Expo biro is undoubtedly one of them. Expo biro is the biggest company in Slovenia and in South-Eastern Europe in the field of assembling prefabricated buildings and is among the biggest producers of composite textile products.

Intervju / Expo Interview biro

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S strokovno ekipo in opremo sodelujejo na skoraj vseh sejem­ skih, športnih in drugih velikih prireditvah, kjer se pojavi potreba po začasnih montažnih sejemskih dvoranah in tribunah. V svet so jih poleg storitev in proizvodov ponesle tudi odlično usposo­ bljene monterske ekipe, ki postavljajo montažne dvorane, šotore in ostalo opremo tudi na vseh dirkah Formule ena, olimpijskih igrah ter na drugih velikih prireditvah v Evropi, Severni Ameriki, Afriki in na Bližnjem vzhodu.

A Expo biro ne počiva na pohvalah organizatorjev največjih sve­ tovnih dogodkov, temveč svoje znanje in izkušnje izkorišča tudi na novih področjih, kot je Ledna dvorana v Kranju ter inovativne rešitve za pokritje bazenov v Termah Olimia in Termah Tuhelj.

Kljub delovanju v tujini pa v Expo biroju še vedno najraje delu­ jejo v slovenskem prostoru, saj so na nekaterih tradicionalnih slovenskih prireditvah že kar samoumevno prisotni.

With their expert team and equipment, they are present at almost every fair, sport or other big event where there is need for temporary prefabricated fair halls or stands for spectators. Besides their services and products, Expo biro is also renown for its qualified assembling teams that set up prefabricated halls, tents and other equipment also at all Formula One races, Olympic Games and other big events in Europe, North America, Africa and the Middle East.

However, Expo biro does not rest on the laurels of commendations by the organizers of the largest world events; it uses its knowledge and experience also in new fields, such as the Ice Hall in Kranj or the innovative solution of covering the pools of Spas Terme Olimia and Terme Tuhelj. Despite their work abroad, Expo biro still prefers working in Slovenia, since some traditional events cannot be imagined without them.

Kdo je ustanovil Expo biro, zakaj in kdaj se je to zgodilo?

Rado Vračko: Expo biro obstaja od leta 1990, ko ga je usta­ novil gospod Blaž Železnik, lastnik in do lanskega leta tudi direktor Expo biroja. V času osamosvajanja in nastajanja nove države je, podobno kot večina podjetnih Slovencev, tudi on iskal poslovne ideje. Svojo poslovno priložnost je našel v postavljanju šotorov za prireditve in ta odločitev se je vseka­

Who founded Expo biro, with what purpose and when?

Rado Vračko: Expo biro was established in 1990 by Mr Blaž Železnik, owner und until last year also director of Expo biro. When Slovenia was in the process of gaining independence and beco­ ming a new country, as many other Slovenian entrepreneurs, he was looking for business ideas. He found his business opportunity in setting up tents for events and the decision has proven right.

Novi projekti so nam vsakič nov izziv, stalni projekti pa dokaz, da so partnerji zadovoljni z našo storitvijo. .

New projects are always a challenge, and repeated projects are a proof that customers are satisfied with our service.

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kor izkazala za pravo. Prvi šotor, ki so ga postavili v Expo bi­ roju, je bil postavljen za potrebe Mednarodnega obrtnega sejma v Celju leta 1990.

The first tent set up by Expo biro was at the International Trade Fair in Celje in 1990.

Kako se je dejavnost širila in kaj danes obsega Expo biro?

Rado Vračko: Dejavnost se je od ustanovitve družbe širila in nekateri programi so preživeli, nekateri pa so po določenem času ugasnili. Osnovna dejavnost ostaja postavljanje začasnih objektov za prireditve, s katero smo tudi začeli. Poleg tega pa se ukvarjamo še s postavljanjem tribun za gledalce, krojenjem izdelkov iz PVC platen, izposojo gradbenih odrov ter izdelavo in prodajo montažnih objektov, narejenih za industrijske namene.

Nedavno smo v dejavnostih ogrevanja, hlajenja in dekoriranja objektov prepoznali programe, ki bi jim bilo vredno posvetiti več pozornosti in aktivnosti na tem področju okrepiti. Zato smo jih organizacijsko ločili in jih sedaj tržimo pod blagovnimi znam­ kami Expo term in Expo deko.

Ukvarjamo se še s posebnimi projekti, kot so prekritja Term Olimia in Term Tuhelj, Ledne dvorane v Kranju in še mnogo manjših projektov. Letos smo pričeli tudi z lastno proizvodnjo prireditvenih šotorov.

How did your activities expand and what does Expo biro incorporate today?

Rado Vračko: The activity has expanded since the company’s establishment; some programmes survived, and some were abandoned after some time. Setting up temporary buildings for events remains the primary activity, as it has also been the initial activity. Furthermore, we set up stands for spectators, pattern products made of PVC canvas, rent scaffoldings as well as produce and sell prefabricated structures made for industrial purposes. Recently we have discovered heating, cooling and decorating structures as activities worth investing more time and attention and strengthen activities in this area. Therefore we have separated them and market them now under the trademarks Expo term and Expo deko.

We are also involved in specific projects like covering swimming pools at Spas Terme Olimia and Terme Tuhelj, the Ice Hall in Kranj and many other smaller projects. This year we have also launched our own production of event tents.

Katere dejavnosti so glavne in katere blagovne znamke zastopate?

Which are your main activities and which trademarks do you represent?

Slovenski trg je majhen, premajhen, da bi zadoščal za preživetje družbe ranga, kot je Expo biro.

The Slovenian market is small, too small to be enough for the survival of a company of the range of Expo biro.

Scenografija Intervju / Scenography / Expo Interview biro

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Rado Vračko: Vsekakor je osnovna in glavna dejavnost Expo biro­ ja izposoja šotorov oziroma montažnih dvoran z vso pripadajočo opremo, ki je potrebna za dobro počutje gostov v začasnem objektu. V skupini razpolagamo s približno 30.000 kvadratnimi metri šotorov raznih dimenzij, od velikosti 3 x 3 metre do 40 x 50 metrov, s podi, raznimi vrstami fasad, dekoracijo, ogrevanjem in hlajenjem, vrati, stoli, mizami, razsvetljavo in vso drugo opremo, ki jo potrebuje takšen montažni objekt. Že leta smo za območje vseh držav bivše Jugoslavije ekskluzivni zastopnik družbe Röder ZS iz Nemčije, ki velja za enega največjih proizvajalcev šotorov na svetu, ter prav tako nemške družbe Bender, ki se ukvarja s proizvodnjo montažnih tribun. Letos smo sklenili zastopniško pogodbo tudi z družbo Zingerlemetal iz Italije in s tem pridobili ekskluzivno pravico prodaje njihovih hitromontažnih šotorov Mastertent za območja bivše Jugoslavije.

Rado Vračko: Expo biro’s main activity remains the rental of tents or prefabricated halls including appropriate equipment necessary for the guests’ well-being in the temporary structure. We have at our disposal around 30,000 m2 of tents of different dimensions, ranging from 3 x 3 metres to 40 x 50 metres, with floors, different types of facades, decoration, heating and cooling, doors, chairs, tables, lighting and all other equipment needed for such a prefabricated structure. For all countries of ex-Yugoslavia, we have been for a number of years the exclusive representative of the Röder ZS company from Germany, renown as one of the biggest tent producers in the world, and for the German company Bender, a producer of prefabricated stands for spectators. This year we signed a representation contract with the Zingerlemetal Company from Italy and thus gained the exclusive right to sale their hydro-montage tents Mastertent in the area of ex-Yugoslavia.

Pomembna dejavnost je tudi lastna proizvodnja platen in šotorov. Za koga izdelujete te proizvode in zakaj ste se poleg vsega odločili tudi za tovrstno proizvodnjo?

Kakšen del vaše dejavnosti zaseda lastna proizvodnja?

Rado Vračko: Proizvodnja oziroma krojenje platen je že leta stalnica v naši dejavnosti. Izdelujemo šotorska platna, proizvode za vojaške potrebe in za civilno zaščito ter pravzaprav vse izdelke iz PVC platna, ki jih trg potrebuje. Velik del proizvodov izvažamo

The production of canvas and tents is also an impor­ tant activity of your company. Whom do you produce for and why did you decide to take up this production besides everything else? What share of your activity is taken by your own production?

Rado Vračko: The production or the patterning of canvas has been a permanent activity for years. We produce tent canvas, products for army needs and for civil protection and actually all products

v Nemčijo, Francijo in na Madžarsko. Letos smo začeli proizva­ jati še aluminijaste konstrukcije za šotore. Proizvodnja platen in aluminijastih konstrukcij za šotore trenutno predstavlja približno dvajset odstotkov prihodkov družbe.

Montažna ekipa Expo biroja se je izkazala kot ena najboljših daleč naokoli s sodelovanjem na največjih prireditvah na svetu, kot so tekme Formule ena, Olimpijske igre in podobno. Koliko ljudi je zaposlenih v Expo biroju in kako izobražujete delavce? Kaj odliku­ je ekipo Expo biroja, da je tako iskana po vsem svetu?

Rado Vračko: Število zaposlenih se giba okoli številke sto. Zelo veliko pozornost posvečamo izobraževanju zaposlenih, predvsem na področju varnosti pri delu in seveda upoštevanju vseh zahtev, ki jih gradnja naših objektov terja. Precejkrat je namreč treba postaviti objekt v zelo zahtevnih vremenskih razmerah, kot je na primer močan veter. V Expo biroju že leta sodelujemo na dirkah Formule ena, bili smo na mnogih olimpijskih igrah, finalih Lige prvakov in mnogih drugih uglednih prireditvah v Evropi in širše po svetu. In to je prav gotovo dokaz, da so naši fantje res »pravi«!

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made of PVC canvas that the market longs for. A major part of products is being exported to Germany, France and Hungary. This year we started to produce aluminium constructions for tents. The production of canvas and aluminium constructions for events currently represents around 20% of the company’s revenues.

The Expo biro’s assembling team has proven one of the best in the area and has participated in the lar­gest world events, such as Formula One races, Olympic Ga­mes and more. How many people does Expo biro employ and how do you train your employees? What distinguishes the Expo biro team that it is so sought for in the entire world?

Rado Vračko: The number of employees is around one hundred. We devote a lot of attention to the education and training of our employees, particularly in the field of safety at work taking into account all requirements that the construction of such structures demands. Often a structure has to be assembled in difficult weather conditions, such as strong wind for instance.

Expo biro has been cooperating in Formula One races for years,

Najbolj smo ponosni na domače dogodke, kjer smo že leta stalnica na Festivalu Lent, Svetovnem smučarskem pokalu v Mariboru in Kranjski gori, sejmih v Celju, Ljubljani in Radgoni, Svetovnem pokal v Biatlonu na Pokljuki ter še na celi vrsti večjih in manjših dogodkov.

We are most proud of our home events that we traditionally participate in, such as the Lent Festival, the Ski World Cups in Maribor and Kranjska gora, fairs in Celje, Ljubljana and Radgona, the Biathlon World Cup in Pokljuka and another range of bigger and smaller events.

Katere so največje prireditve, na katerih ste sodelovali kot izvajalci?

Rado Vračko: Nekaj sem jih že omenil, a vseeno bi rad še pose­ bej izpostavil srečanje držav Commonwealtha in Afriške športne igre v Nigeriji, Kraljeve konjske dirke v Veliki Britaniji, koncert Johna Lennona v Moskvi, ATP Turnir in Univerzijado v Beogradu, sejme v Splitu, Zenici, Beogradu, Skopju, Svetovni smučarski po­ kal v Banskem v Bolgariji in še mnoge druge. Nedvomno pa smo najbolj ponosni na domače dogodke, kjer smo že leta stalnica na prireditvah Festival Lent, Svetovni smučarski pokal v Mariboru in Kranjski gori, sejmi v Celju, Ljubljani in Radgoni, Svetovni pokal v Biatlonu na Pokljuki in Mercatoriada ter še na celi vrsti večjih in manjših dogodkov.

Kako lahko podjetje iz male Slovenije tako močno pro­ dre na svetovno tržišče, kot je to uspelo vam s projekti kot so Formula 1, olimpijske igre, Univerzijada ter še mnogo drugih velikih dogodkov, tudi nedavni koncert U2 v Zagrebu? Kaj je vaša prednost pred drugimi po­ nudniki podobnih storitev?

Rado Vračko: Zanesljivost, vztrajnost, inovativnost, prilagodlji­ vost in visoka kakovost storitev so odlika Expo biroja že od usta­ novitve naprej.

Dejstvo je, da veliko delate v tujini. Kaj pa domači trg, kako pokrivate tega? Iz zadnjih let sta, poleg množice projektov, verjetno najbolj odzivna projekta pokritje bazena v Termah Olimia in Ledne dvorane v Kranju, ki je “oživila” gorenjski hokej. Kako bi lahko opisali ta­ k­šne projekte?

Rado Vračko: Slovenski trg je seveda za nas izredno pomem­ ben in mu zato tudi posvečamo največ pozornosti. Žal je trg pač majhen, premajhen, da bi zadoščal za preživetje družbe

we were present at several Olympic Games, Champions League Finals and many other prestigious events in Europe and worldwide. This is undoubtedly the proof that our guys are really “the right ones”!

What are the biggest events that you cooperated in as operators?

Rado Vračko: I have already mentioned some, but I would still like to highlight the meeting of the Commonwealth countries and the African Games in Nigeria, the Royal Horse Racing in Great Britain, John Lennon’s concert in Moscow, the ATP tournament and University Games in Belgrade, fairs in Split, Zenica, Belgrade, Skopje, the Ski World Cup in Bansko in Bulgaria and many more. Nevertheless, we are most proud of our home events that we traditionally participate in, such as the Lent Festival, the Ski World Cups in Maribor and Kranjska gora, fairs in Celje, Ljubljana and Radgona, the Biathlon World Cup in Pokljuka and the Mercatoriada and another range of bigger and smaller events.

How can a company from such a small country like Slovenia break through to the world market, as you did with projects like Formula One, Olympic Games, Uni­ versity Games and many other big events, among oth­ ers also the recent U2 concert in Zagreb? What is your advantage in comparison to other similar providers?

Rado Vračko: Reliability, perseverance, innovation and high quality of services have been Expo biro’s strengths since its establishment.

It is a fact that you work a lot abroad. What about the Slovenian market, how do you cover it? Besides nu­ merous projects, in the past years the most visible projects were the covering of the swimming pool in

Eden najbolj prepoznavnih projektov Expo biroja je prekritje bazena v Termah Olimia z membransko platneno streho.

One of the most recognizable Expo biro’s project o was the covering of the swimming pool of the Spa Terme Olimia with a membrane canvas roof.

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ranga, kot je Expo biro. Zato moramo dodatne priložnosti iskati izven meja domačega trga, poleg tega pa se loteva­ mo projektov, ki silijo izven naše »redne« dejavnosti. Gre za tako imenovani program »platno v arhitekturi«. Najbolj prepoznavni projekti so prekritje bazena v Termah Olimia z membransko platneno streho, prekritje termalnega kom­ pleksa v Termah Tuhelj s troslojnimi, napihljivimi platnenimi blazinami, in celovita rešitev ter izvedba Ledne dvorane v Kranju. Platno ima kot kritina veliko prednost, saj je lahko in prepušča svetlobo.

Izvedli smo še tudi mnoge druge manjše projekte. Letos je bil zanimiv projekt prekritje gostinskega vrta v Volčjem potoku, kjer smo uporabili povsem nov proizvod, elastično platno za prekrivanje površin do dvesto kvadratnih metrov površine.

To platno odlikuje velika prilagodljivost, hitra montaža in demontaža ter izreden videz.

Kaj vam pomeni sodelovanje pri organizaciji prireditev v Sloveniji in kaj v tujini? V Sloveniji na primer že dolga leta postavljate prireditveni prostor za Festival Lent.

Ali gre za projekte, ki so vam “prirasli k srcu”? Raje de­ late v Sloveniji kot v tujini?

Rado Vračko: Težko bi rekel, kaj delamo raje. Novi projekti so nam seveda vsakič nov izziv, stalni projekti pa dokaz, da so partnerji zadovoljni z našo storitvijo, in lahko rečemo, da ne gre samo za kupo-prodajni odnos, ampak pravo partner­ stvo. Osebno dajem prednost domačim, ponavljajočim se projektom.

Razvoj Expo biroja je bil bliskovit. Kaj pa prinaša pri­ hodnost?

Rado Vračko: Naslednje leto bomo obeležili dvajseto oblet­ nico obstoja družbe. Resda smo že polnoletni, ampak še vedno

Spa Terme Olimia and the Ice Hall in Kranj that reani­ mated the hockey of Gorenjska region. How would you describe such projects?

Rado Vračko: The Slovenian market is undoubtedly very important to us and thus we devote most of our attention to it. Unfortunately, the market is small, too small to be enough for the survival of a company of the range of Expo biro. Therefore we have to seek for additional opportunities outside Slovenia and launch projects that are not quite part of our ‘regular’ activity, i.e. the socalled ‘canvas in architecture’. The most recognizable projects are the covering of the swimming pool of the Spa Terme Olimia with a membrane canvas roof, the covering of the thermal complex of the Spa Terme Tuhelj with 3-layer, blowable canvas cushions and the comprehensive solution and implementation of the Ice hall in Kranj. Canvas has a major advantage as a roof covering since it is not heavy and lets light through.

We have also carried out many other smaller projects. This year, the covering of the restaurant garden in Volčji potok was very interesting, since we used a completely new product, a flexible canvas for covering surfaces up to 200 m2. High adaptability, fast assembling and dismantlement and an extraordinary looks characterize this canvas.

What does participating in the organization of events in Slovenia and abroad mean to you? In Slovenia, for in­ stance, you have been setting up the event space at Lent Festival for years. Are these projects that you are really fond of? Do you prefer working in Slovenia or abroad?

Rado Vračko: It is difficult to say what we prefer. New projects are always a challenge, and repeated projects are a proof that customers are satisfied with our service and we may say that they are not just customers, but partners. Personally, I prefer recurrent projects in Slovenia.

smo zelo mladi. Na tak način tudi nastopamo na trgu, saj smo še vedno zagnani in se veselimo vsakega projekta. Seveda je takšna obletnica priložnost za analizo prehojene poti in razmis­ lek za prihodnost. Prvi rezultat teh razmišljanj je SLOevent, povezovanje s partnerji, ki razmišljajo podobno, in združeni sku­paj smo še boljši! Poleg tega pa bomo okrepili prisotnost na trgih jugovzhodno od Slovenije. Ob obstoječih hčerinskih družbah v Srbiji in na Hrvaškem bomo odpri podružnice v Bos­ ni in Hercegovini, Črni gori in Bolgariji. Razširili bomo paleto storitev, ki jih ponujamo. Še naprej pa bomo seveda vso pozor­ nost posvečali varnosti in visoki kakovosti ter se s prilagodlji­ vostjo, zanesljivostjo in inovacijami poskušali še bolje povezati z odjemalci. Idej je veliko, čas in trg pa bosta pokazala, katere bomo uresničili!

Expo biro developed very quickly. What will the future bring?

Rado Vračko: Next year we will celebrate the 20th anniversary of the company. Truly, we are already over 18, but we are still very young. In this way we also appear in the market, enthusiastic and keen on every initiated project. Such an anniversary provides an opportunity to analyze our way thus far and to ponder upon the future. The first result of these reflections is SLOevent, a project connecting similarly thinking partners; together we can achieve even more! Besides this we will reinforce our presence at south-eastern markets. Along with the existing daughter companies in Serbia and Croatia we will open representations in Bosnia and Herzegovina, Montenegro and Bulgaria. We will expand the range of our product choice and still devote major attention to security and high quality; and with adaptability, reliability and innovation we will attempt to better connect with customers. There are plenty of ideas and time; the market however will show which ideas will be implemented!

Expo biro

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Nekaj referenc Expo biroja: - Dirke Formule ena v Imoli, Barceloni, Spielbergu, Monacu, Nürburgringu, Magny Coursu, Silverstonu, Hockenheimu, Budimpešti in Monzi, - Olimpijske igre v Atenah, Lillehamerju in Torinu, - finale Lige prvakov v nogometu v Milanu, Glasgowu in Man­ chestru, - tekmovanje športnih vozil DMT v Hockenheimu, Oschersle­ benu, Nürnbergu, Saxenringu, Nürburgringu in Lausitzringu, - ATP Turnir in Univerzijada v Beogradu, - Svetovni smučarski pokal v Banskem v Bolgariji, v Mariboru in Kranjski gori, - Svetovni pokal v Biatlonu na Pokljuki, - Srečanje držav Commonwealtha v Nigeriji, - Afriške športne igre v Nigeriji, - Kraljeve konjske dirke v Veliki Britaniji, - VIP zabava s koncertom Eltona Johna v St. Petersburgu, Rusija, - koncert U2 v Zagrebu, - Srečanje OVSE v Ljubljani, - Konferenca članic NATO v Portorožu, - Srečanje Bush – Putin na Brdu pri Kranju, - Obisk ameriškega predsednika Clintona v Sloveniji, Ljubljana, - Obisk papeža v Mariboru - Festival Lent, - Mercatoriada, - sejmi v Splitu, Zenici, Beogradu, Skopju, Celju, Ljubljani in Radgoni, - prekritje Term Olimia in Term Tuhelj, - Ledna dvorana v Kranju, - in še mnogo drugih projektov širom Evrope in širše po svetu.

www.expobiro.si

Some of Expo biro’s references: - Formula One races in Imola, Barcelona, Spielberg, Monaco, Nürburgring, Magny Cours, Silverstone, Hockenheim, Budapest and Monza, - Olympic Games in Athens, Lillehamer and Torino, - Football Champions League Finals in Milano, Glasgow and Manchester, - DMT sports vehicle competition in Hockenheim, Oschersleben, Nürnberg, Saxenring, Nürburgring and Lausitzring, - ATP Tournament and University Games in Belgrade, - Ski World Cup in Bansko (Bulgaria), Maribor and Kranjska gora, - Biathlon World Cup in Pokljuka, - Meeting of Commonwealth countries in Nigeria, - African Games in Nigeria, - Royal horse racing in Great Britain, - VIP party with Elton John concert in St. Petersburg, Russia, - U2 concert in Zagreb, - OSCE meeting in Ljubljana, - NATO members conference in Portorož, - Bush – Putin meeting at Brdo pri Kranju, - Visit of American President Clinton in Slovenia, Ljubljana, - Visit of the pope in Maribor, - Lent Festival, - Mercatoriada, - Fairs in Split, Zenica, Belgrade, Skopje, Celje, Ljubljana and Radgona, - Covering of Spas Terme Olimia and Terme Tuhelj, - Ice Hall in Kranj, - and many other projects around Europe and worldwide.

hladimo ogrevamo

prezračujemo

vlažimo

sušimo

Pripeljemo, zmontiramo, klimatiziramo.

mobilni klimatizacijski sistemi

www.klimarent.com • info@klimarent.com Inpro d.o.o. Novo mesto • 07/30-84-850

Dobrega režiserja odlikujejo bogate izkušnje A Good Director Is the Product of Rich Experience Besedilo/TextDušan Matičič

Dogodki in prireditve niso več zgolj enoplastni nastopi pevskih skupin ali nastop glasbene skupine. Postali so večplastni preplet vsebine, nastopajočih in stranskih dejavnosti. Za celotno prireditev pa skrbi en človek, ki s svojo zamislijo, izvedbo in izbiro ekipe pod prireditev podpiše svoje ime in je zanjo odgovoren.

Režija / Direction

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Events are no longer mere performances by singing groups or bands. They’ve become a complex intertwining of the content, the performers and the accompanying activities.

There’s one man in charge of the entire event who, with his concept, event production and team selection, signs his name under the event and takes the responsibility for it.

Njegoš Maravič je človek, ki je zaznamoval številne prireditve v Sloveniji. Maravič je režiser na RTV Slovenija in človek, ki mu zamisli ne manjka, v posel režije dogodkov pa je prišel povsem po naključju, iz radovednosti, ali je zmožen poleg režije tele­ vizijskih oddaj ustvariti tudi kakovostne dogodke.

Njegoš Maravič has greatly influenced several events in Slovenia.

He’s a director at RTV Slovenia and is a man never lacking new ideas.

Maravič entered the event production business entirely out of curiosity. He questioned whether or not he was capable of producing quality events in addition to his quality TV program productions.

Poštenost do sebe in naročnika Maravič dogodke pripravlja s stalno ekipo in stalnimi podiz­ vajalci, da tako zagotovi kakovostno izvedbo dogodka. Dolgo že sodeluje s scenaristom Tomažem Letnarjem, s katerim ust­ varita okvirni scenarij, za scenografijo pa poskrbi Ivo Koritnik. »Vrhunski dogodek lahko ustvari le vrhunska ekipa. Prodajamo namreč tudi svoje ime in pod dogodek se je treba podpisati. Ne moremo pa podpisati, česar tudi sami ne sprejemamo,« pravi Maravič. Kot osnovno načelo dela režiserja je izpostavil pred­ vsem poštenost do svojega dela in zmožnosti, saj je najhujša napaka predvsem to, da režiser naročniku obljubi nekaj, česar ni zmožen izvesti. S tem namreč izgubi svojo verodostojnost, naročnik pa ne dobi tega, kar je plačal.

Self-Honesty and Honesty to the Client Working with a full-time crew and subcontractors, Maravič orga­ nizes these events, ensuring a quality production. He’s worked for many years with the scriptwriter Tomaž Letnar, together they collaborate and design an outline for the script. Also involved in the process is Ivo Koritnik, a scenographer. “Only a top quality crew can produce a top quality event.” We sell our name and we have to sign under each event, and we can’t sign something we don’t approve of.” Maravič listed honesty to one’s work and capabilities as a fundamental virtue required of a director. Listed as the worst mistake a director could make, he noted promising to the client something one is not able to provide. With that mistake you lose credibility, and the client doesn’t get what he paid for.

Prvi stik z naročnikom začrta dogodek Prvi stik služi zbiranju podatkov o vrsti dogodka, komu je pri­ reditev namenjena, kakšno občinstvo bo prisotno in kakšne so finančne zmožnosti, saj to največkrat predstavlja oviro pri izpel­ javi projekta, kot bi si ga želel naročnik. Maravič poudarja, da je na prvem mestu želja naročnika, vse ostalo pa je odvisno od režiserja in njegove ekipe. Nato sledi usklajevanje izvajalcev in ekipe, saj si morajo vsi rezervirati čas za sam dogodek in tudi za vaje.

Naslednja stopnja je prizorišče prireditve. Prizorišče je velikokrat odvisno od vrste prireditve in obratno, zato je ogled nujno potreben. »Povsem drugače je, če je prireditev predvidena na ljubljanskem gradu, v Gallusovi dvorani ali morda v Atlantisu,« pravi Maravič, saj vsak prostor zahteva svoj način pristopa in pro­ grama, nekatere stvari pa je v določenih prostorih nemogoče iz­ vesti. »Program mnogokrat prilagajamo prizorišču in kot režiser moram vedeti, kaj prostor ponuja,« pravi Maravič, predvsem pa

The First Contact With the Client Defines the Event The first contact may serve to gather information about the type of event, the intended audience, and the financial means and limitations. The latter can often present problems in organizing a project the way the client requires. Maravič emphasized that the client’s wishes come first, and the rest depends on the director and his crew.

This is followed by coordinating the schedules of the performers and the crew members for the event and also the rehearsals.

The next step is choosing a venue for the event. The venue often depends on the type of event and vice versa, thus, previewing it is a must.

“An event’s theme and atmosphere will differ depending on the venue choice. Consider the differences of the Ljubljana Castle from the Gallus Hall, the Cankarjev dom from Atlantis Water Park.” Maravič notes that each location demands a typical approach and that there are certain limitations that apply to certain locations. “The program is often adjusted to the venue and as a director I should be aware of what

the venue offers,” says Maravič, considering the infrastructure - lighting, sound, etc. Such factors influence the overall event price.

Na vrhunsko prireditev sodijo vrhunski izvajalci Režiser mora biti zelo razgledan v celem spektru kulture. »Poznati moraš celotno sceno, od zabavne, klasične, do popularne glasbe. In naj to nima negativnega prizvoka, kajti po mojem mnenju imamo v Sloveniji tudi kakovostne pop izvajalce. Slovenija ima ogromno kakovostnih glasbenikov, pa tudi precej slabih, vendar me to ne moti, naj vsak najde svojo nišo, v kateri je uspešen,« je povedal Maravič. Za svoje prireditve izbere le vrhunske izvajalce, ki glasbo izvajajo v živo, playback pa povsem zavrača. Za nekatere prireditve so celo naročili avtorsko glasbo. Maravič v glasbeni sceni obžaluje predvsem dejstvo, da so slabši izvajalci, ki so morda bolj medijsko izpostavljeni, finančno cenjeni precej višje kot kakovostni.

A Top Quality Event Requires Top Quality Performers The director has to be familiar with the entire cultural spectrum, from the lowest to the highest quality of music. “You need to know the whole range of music, from classical to popular music. This should not carry a hint of negativity, for we do have good quality pop music performers in Slovenia in my view. Slovenia has a great number of good quality musicians, and also quite a lot of lousy musicians. That doesn’t disturb me. Let everyone find his or her own niche,” says Maravič, who provides quality live performances rather than recorded playback; for certain events a music author was requested to write music specifically for the performance.

Above all, Maravič regrets the fact that in the music industry low quality performers are often more spotlighted in media and more financially valued than good, quality performers.

Vsebina po meri naročnika in začinjena z značajem nastopajočih Maravič je poudaril, da za voditelje izbirajo predvsem šolane igralce, saj so besedila zahtevna za interpretacijo in vsakdo temu pač ni kos. Besedila na prireditvah so običajno strogo določena, s čim manj možnostmi za improvizacijo. Kot pra­ vi Maravič, na voditelje na odru ni mogoče vplivati, saj so nekateri, čeprav kot igralci in voditelji genialni, lahko tudi zelo nepredvidljivi in lahko z eno napačno iztočnico po­ drejo celo zamisel prireditve. »Zato se trudimo, da besedila pišemo z ozirom na značaj voditelja. Če je voditelj duhovit, besedilo prilagodimo na humoren način, vendar pa mora biti vsebina tista, ki prevladuje. Treba se je zavedati, da moramo zadovoljiti naročnika, ne voditelja,« je še povedal Maravič. Iz besedil, ki prihajajo izpod Maravičeve taktirke, v podtonu vedno veje malce provokacije. Ta sicer ni izrazita, običajno zaradi želje naročnika, vendar pa večina podjetij, naročnikov, da zna sprejeti šalo na svoj račun, a vseeno želijo na koncu pozitivno predstavitev. Na tem področju je poli­ tika še najbolj občutljiva. »Stranka, ki je na oblasti, je vedno občutljiva na vsebino besedil na proslavi. Včasih pa se zgo­ di, da jih vsebina ne moti, saj mi nismo bili nikoli politično opredeljeni in smo zato lahko izdelali večplasten scenarij,« je povedal sogovornik.

Content Both Meeting the Client’s Needs, and Exhibi­ ting Performers’ Unique and Artistic Talents Maravič has emphasized that he prefers to cast professionally trained actors as hosts, seeing as the script is often deman­ding and requires skilled interpretation. Usually an event’s script is strictly followed, leaving little room for improvisation. Although many of the hosts are talented actors, Maravič discourages any unpredictable or unscripted improvisation, noting that one wrong cue or line could destroy the whole concept of an event. “That’s why we strive to write the text with regard to the host’s character. If the host has a sense of humor, the text is adjusted in a humorous way, but the content always needs to be predominant. We need to be aware that the client has to be satisfied, not the host,” adds Maravič. Within Maravič’s scripts often lie subtle hints of provocative tone. In compliance with our client’s wishes, the tone is not tangible although most clients will accept a small amount of provocation as they can accept a joke as long as they are presented in a positive way at the end of the event. Provocative comedy is the most sensitive topic to approach in politics. “The ruling party is always sensitive about the text contents for a ceremony. But sometimes it may happen that they are not disturbed by the content, because we’ve never been taking sides in politics and so we could provide a complex script,” comments a co-speaker.

Predvideti nepredvidljivo Za nepredvidene dogodke na prireditvi je odgovoren režiser in njegova ekipa, torej je treba poskrbeti, da do njih ne priha­ ja. Zato vsakdo skrbi, da opravi svoje delo, režiserjeva naloga pa je najprej izbira zanesljivih podizvajalcev in sodelavcev.

Poleg tega mora biti prepričan, da je vsakdo korektno opravil svoje delo. »Nekoč se mi je na prireditvi zgodilo, da je nekdo nerodno stopil čez električne žice in povzročil izpad elek­ trike, a na srečo smo imeli ekipo, ki je poskrbela, da je to tra­ jalo le nekaj sekund,« se je na neprijeten dogodek spomnil Maravič. Zaradi podobnih dogodkov zato raje poskrbi, da so vse napeljave podvojene, poskrbeti pa je treba tudi za takšne malenkosti, kot je menjava baterijskega vložka v mikrofonu. »Bistvene elemente prireditve je treba preveriti, tega so me naučile izkušnje. Vem, da se nerodnosti dogajajo, vendar pa poskušam poskrbeti, da jih je čim manj,« je še povedal. Če pa že pride do napake, jo skušajo čim prej odpraviti, tudi z im­ provizacijo.

Kot veliko spremenljivko na prireditvah je Maravič izpostavil vreme. Če obstaja možnost slabega vremena, je treba razmis­ liti, kam se bodo umaknili obiskovalci prireditve, če prizorišče ni pokrito. Treba pa je upoštevati tudi nastopajoče. Noben glasbenik namreč ne bo igral na dežju ali mrazu, ker pazijo nase in na svoja glasbila.

Predicting the Unpredictable Because the director and his crew are responsible for all mistakes, however accidental or unpredictable, it is imperative to their success that there are no mistakes. While Maravič acknowledges that it is chiefly the director’s responsibility to choose reliable and competent subcontractors and workers, he also stresses the importance of each individual taking care of his or her job. “Once it happened at the event that someone was clumsy stepping over the wiring and this caused power failure. Fortunately, we had a crew that made sure this lasted for only a few seconds,” Maravič recalled of the unpleasant event. Looking to avoid the same mistakes of the past, he has since provided double wiring at his events. Even simple details like changing microphone batteries need to be addressed and ta­ ken care of. Maravič comments that “The essential elements of the event need to be checked. I’ve learned that by experience. I know that clumsy things happen but I try to make certain there are as few as possible.” However, if a mistake should happen, they quickly try to correct it, even if they must resort to improvising.

Maravič has emphasized that the weather is a big variable at the events. If, during an outdoor event, there’s a chance of bad weather, one must consider where the visitors will be able to retreat to. It is also mindful to consider the performers’ conditions, seeing as most musicians will not be able or willing to play in poor weather conditions.

29 Režija / Direction

misli na infrastrukturo – luči, ozvočenje in tako naprej. Takšni de­ javniki pa v končni fazi vplivajo na ceno dogodka.

Prodaja in najem velikih zaslonov V našem podjetju imamo strokovno ekipo, ki skrbi za svetovanje, šolanje, servis in trženje zaslonov ter seveda prilagajanje potrebam posameznih kupcev. Naše stranke se velikokrat soočajo z različnimi težavami pri postavljanju prikazovalnikov, zato vam nudimo celotno izvedbo projekta na ključ. Poleg svetovanja pred nakupom svojim strankam nudimo tudi hitro odpravljanje morebitnih napak v delovanju prikazovalnikov, po nakupu, saj se zavedamo, da čas oglaševanja pomeni denar, zadovoljne stranke pa so bistvo uspeha.

V našem prodajnem programu boste našli široko paleto velikih zaslonov z LED tehnologijo.

Nudimo vam zaslone tako za notranjo kot tudi zunanjo uporabo ter različne velikosti in ločljivosti. Razmak posameznih točk na zaslonu je od 4mm do 30mm.

Nudimo vam tudi najem mobilnega LED zaslona, ki je trenutno najvišje ločljivosti v Sloveniji.

Zaslon je sestavljen iz 18 kabinetov velikosti 1024x1280mm, katere je mogoče sestavit v različne oblike. Celotna površina zaslona je 24 m2.

Lastnosti mobilnega zaslona: - omogoča visoko kakovostno prikazovanje video posnetkov, slik, prezentacij in različnih animacij v realnem času - sistem podpira priključitev video signala in ozvočenja – video kamera, TV enota, video in DVD predvajalnik, - modularna konstrukcija dopušča široko paleto možnosti uporabe - dimenzija in oblika zaslona se lahko sestavlja poljubno glede na potrebe uporabnika

Za najem, prodajo ali tehnične informacije pokličite na 031/608-833 ali pišite na tvengar@izid.net Nekaj naših referenc: Dvorana Podmežaklja Jesenice (20m2), Dvorana Tivoli Ljubljana (20m2), Casino Riviera Portorož (20m2), Dvorana Podmežaklja (perimeter 24m2), Casino Kongo Grosuplje (perimeter 15m2), Biatlonski center Pokljuka (60m2), Casino Mulino (14m2)

www.bigscreens.si

Marjan Pirnar je z zvokom povezan že celo življenje, med drugim tudi prek zbirke kitar, ki imajo vsaka svoj specifični zvok. Prvo ozvočenje je kupil od Helene Blagne, stalen razvoj in izobraževanje v zvoku in njegovem načrtovanju pa ga danes postavlja na mesto strokovnjaka za prireditveni zvok, saj so zvočno kuliso različnih prireditev v njegovem podjetju Festival Novo mesto snovali že po celem svetu.

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Zvok izpod rok iz zakulisja Professional sound from

Marjan Pirnar has always been »a sound person«. He owns quite a collection of guitars, each one with a specific sound. He purchased his first P.A. from Helena Blagne and continued to study sound in different ways until he became a real sound expert, a professional sound engineer. His company Festival Novo Mesto has been engaged in developing the sound system currently in use all over the world.

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strokovnjakov INTERVJU / INTERVIEW: Marjan Pirnar, Festival Novo mesto Besedilo/TextDušan Matičič, Foto/PhotoFestival Novo Mesto

behind the scenes

Kako dolgo že deluje Festival Novo mesto in kakšna je zgodovina podjetja?

Marjan Prirnar: Kot direktor študentskega servisa, ustanovi­ tel­ja Društva novomeških študentov, sem leta 1995 začel z organizacijo prireditev za študentsko populacijo. Sodelovali smo z glasbenimi skupinami raznih zvrsti, najprej s slovens­ kimi rock zasedbami kot so Demolition Group, Laibach, Sid­d­ ha­r­ta in Big Foot Mama v samih začetkih njihovega delovanja, hkrati pa tudi s hrvaško rockovsko sceno od Majk do Let 3, ter z drugimi progresivnimi skupinami in gledališči. Dejavnost je kmalu začela presegati zmogljivosti klubske infrastrukture sa­ mega poslanstva moje zaposlitve, zato sva s prijateljem Fran­ cijem Kekom po letu in pol organiziranja klubskih koncertov ustanovila Festival Novo mesto, najprej kot zavod, po ukinitvi zavoda pa podjetje Festival Novo mesto d.o.o. Leta 1996 sva po 13 letih »spanja« obudila tudi Rock Otočec, rock festival, ki je postal močna blagovna znamka v Sloveniji in izven meja.

Danes je vsaj polovica mojega menedžerskega delovnega časa posvečena komunikaciji s tujimi poslovnimi partnerji iz Italije, Hrvaške, Madžarske, Srbije, Avstrije, Nemčije in celo Izraela. Po­ slovne prijatelje in sodelavce imamo v Srbiji, Makedoniji, An­ gliji, Franciji, Nemčiji in Španiji ter v ZDA, v Kaliforniji, kjer je sedež našega dobavitelja in izdelovalca ozvočenj.

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Kako ste se našli v ozvočenju?

Marjan Prirnar: Organizacija koncertov in drugih prireditev je pripeljala do nakupa prvega sistema ozvočenja - odsluženega ozvočenja Helene Blagne, ki mi je dobro služilo še naslednjih nekaj let. Vsak dan nov dogodek - to je bil za našo ekipo, ki se je iz dveh mož v nekaj letih razširila na 10 in več redno zaposlenih, nov izziv. Nove tehnične potrebe nas niso nikoli zaustavile. Zvok in sluh, ki sta morda bistvena elementa človekove povezave z naravo, sta me zanimala že od malega. Imam precejšnjo zbirko kitar, ampak vsaka ima zame svoj, neponovljiv in nezamenljiv ZVOK. Zanimalo me je, kako se zvok odbija od stekla ali omare, kakšna je barva zvoka v avtu ali kopalnici. Odkar se spomnim, sem že preko telefonske slušalke razločil, v kakšnem prostoru se moj sogovornik nahaja. Zvok me enostavno zanima.

Kaj vse lahko Festival Novo mesto ponudi naročniku?

Marjan Prirnar: Organiziranje, načrtovanje in tehnično izpel­ javo dogodkov. Kaj to pomeni? Nismo podjetje, ki samo posoja opremo, ampak v večini primerov tudi sami upravljamo z njo, pred tem pa načrtujemo izvedbo in po potrebi tudi svetujemo naročniku, da bo njegov dogodek presežek že videnega ali slišanega. Poleg tega smo dejavni na snemalnem področju, po­sneto pa posredujemo radijskim postajam ali televiziji. V svojem novomeškem studiju tudi oblikujemo končno podobo posnetkov. Zvočne in lučne podobe lahko vnaprej pripravimo v obliki animacij in tako naročnik preprosteje razume, kaj od nas lahko dobi. Zadnje leto smo se začeli ukvarjati z večkanalnimi sistemi ozvočevanja prostorov, torej ne uporabljamo samo mono ali stereo postavitev ozvočenja, temveč večkanalne ­sur­round sisteme, saj se zvok tudi v naravi ne obnaša mono ali stereo, ampak prihaja iz vseh možnih strani. Zvočne simulacije preleta helikopterja ali velikih ptičev okoli prizorišča na ve­ likih koncertih Pink Floyd so se izvajale že v osemdesetih letih.

Danes lahko z novimi tehnologijami dosežemo učinek, da se poslušalec v določenem trenutku virtualno nahaja sredi gozda, nato v podmornici ali kjerkoli drugje. Ta vrsta tehnologije se je razvila predvsem zaradi načrtovanja in akustične obdelave večnamenskih dvoran. V dvorani je namreč en dan koncert klasične glasbe, drug dan gledališka predstava, naslednji dan rokometna tekma, nato pa rock koncert in vsak tip prireditve potrebuje popolnoma drugačno akustiko dvorane.

Za glasbene skupine imamo na voljo tonski vadbeni studio, ki omogoča predpripravo na koncert, nekakšno simulacijo

What is the history of your company Festival Novo Mesto? When was it founded?

Marjan Prirnar: As a director of a student office under which the Student Association Novo Mesto was founded I started organi­zing different events for students in 1995. We entered in cooperation with different music bands, from Slovenian rock groups such as Demolition Group, Laibach, Siddharta and Big Foot Mama to Croatian rock scene including Majke and Let 3, but there were also some other progressive bands and theaters. Our activities had soon transgressed the capacities of club scene inside my professional mission so, after a year and a half of organizing club concerts, my friend Franci Kek and I founded Festival Novo Mesto.

An institution at first it later became a company. In 1996, after 13 years of »sleep«, we revived the Rock Otočec Open Air Rock Festival, which has become a strong trademark in Slovenia and abroad. Today, at least half of my working time as a manager is spent in communication with business partners from Italy, Cro­ atia, Hungary, Serbia, Austria, Germany and even Israel. We have business partners and friends in Serbia, Macedonia, England, France, Germany, Spain and even the US – California is the headquarters of our PA manufacturer and supplier.

How did you become a “sound expert”?

Marjan Prirnar: Organizing concerts and other events brought us to the point where we had to buy our first PA system. It was an old, timeworn PA system that used to belong to Helena Blagne, but somehow it had served me quite well for the few following years. Every day a different event – it was quite a challenge for our team, which, in only a few years, grew from two men to more than ten employees on the active list, and could never be stopped or em­barrassed because of new technical requirements. I have always been interested in sound and the sense of hearing as they are probably the most essential elements of man’s connection to nature. I have quite a collection of guitars which, at least to me, have a special, unique and irreplaceable SOUND. I have always been curious to know how sound reflected itself from different surfaces, for example glass or wood of a cupboard, how it transformed inside of a car or in a bathroom. Even as a child, talking on the phone I was able to tell in what sort of place the person I was speaking to was situated. I am simply interested in sound.

What are the services that Festival Novo Mesto can ­of­fer to its clients?

Marjan Prirnar: Organizing, planning and technical realization of an event. What does that mean? We are not only a lending company, but are mostly using our equipment ourselves, after planning the realization. We can also advise our clients and help them create a unique event that exceeds in its excellence. We do different recor­ dings which we then distribute to TV or radio stations. We finalize our recordings in our studio in Novo Mesto. Sound and lighting for an event can also be presented with the help of computer animations, so our clients will know what to expect. In the last year, we have introduced multi-channel amplifying systems which means we do not only use mono or stereo amplification constructions, but multiple surround systems – like in nature where the sounds come from all sides and not only through mono or stereo channels. At Pink Floyd concerts sound simulations of big birds or a helicopter flying over were already being used in the 80s. Today, with the help of new technologies we can create the impression that the visitor is virtually situated in the middle of a forest, on a submarine or anywhere else. This sort of technology has been developed mostly for planning and acoustic preparation of assembly halls meant to host many different types of events; from concerts of classical music and theatre performances to handball games and rock concerts. But each type of show has different acoustic requirements. To bands we offer a possibility to practice in a special rehearsal studio where they can prepare for their concerts. There, we can prepare computer sim-

Dober mojster potrebuje dobro orodje. Slab mojster dobrega orodja ne bo znal izkoristiti. Odličen mojster z odličnimi, najboljšimi orodji lahko ustvari presežke.

An expert always relies on his tools. If someone is not very professional, he will not be able to take advantage of good equipment. It takes an expert with the best equipment to create something that has never been experienced before.

koncerta v živo s popolnim ozvočenjem, kakovostnimi sne­ malnimi napravami in lučmi. Nekaj glasbenih skupin je v tem prostoru že posnelo video spot v stilu koncerta v živo. Studijsko - vadbeno dejavnost bomo v prihodnje še precej razširili, ker nam tehnične kapacitete, predvsem pa izvrstna ekipa, to tudi omogočajo.

ulations of a live concert including the amplification, high qua­lity recording equipment and lights. Some bands have even recorded their videos in that studio, and you really get the impression they are playing live. Since we have really good technical capacities plus a very good team to support it, we are definitely planning to expand and develop this sector in the near future.

Kako pomembna je oprema za ozvočenje in kakšno opremo lahko ponudite naročniku?

Marjan Prirnar: Dober mojster potrebuje dobro orodje. Slab mojster dobrega orodja ne bo znal izkoristiti. Odličen mojster z odličnimi, najboljšimi orodji pa lahko ustvari presežke.

Festival Novo mesto želi sodelovati z najodličnejšimi mojstri vseh poklicev, od tonskih in lučnih tehnikov ter šoferjev, pa do najboljših pevcev. V ta namen izbiramo orodja najvišje kako­ vosti. Pri ozvočenjih je to Meyer Sound iz Kalifornije in angleške mešalne mize Midas.

Kot sem že omenil, morajo biti zvočne naprave natančne, brez popačenj. Ne gre za hreščanje, ki je lahko posledica mehan­ skih okvar, ampak za fizikalno pravilno načrtovano opremo in natančno izdelavo. Vsak zvočnik je navadno sestavljen iz večih delov: nizkotonski zvočnik, visokotonski zvočnik, srednjeton­ ski zvočnik, kretnica, ojačevalec, ohišje, pribor za obešanje in barva. Sinhronizacija vseh komponent v skupni izdelek je ve­

How important is the right equipment? What can you offer to your clients?

Marjan Prirnar: An expert always relies on his tools. If someone is not very professional, he will not be able to take advantage of good equipment. It takes an expert with the best equipment to create something that has not been experienced before. At Festival Novo Mesto we are striving to achieve cooperation with the best people in the business, from sound and light technicians to drivers and sin­ gers, and that is exactly the reason to choose the best quality tools and equipment. We chose Californian Meyer Sound for the P.A. systems and English Midas for the mixing consoles.

As I mentioned before, all sound equipment has to be accurate, ­without deformation. Crackling is usually caused by mechanical problems, but physically accurate and precisely produced sound equipment is usually hard to find. Every loudspeaker is normally composed of several parts; low-frequency speaker, high-frequency speaker, mid-frequency speaker, crossover, amplifier, housing,

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lika znanost. Zvočnike, ki zmorejo istočasno in fazno usklajeno predvajanje zvoka, ki je podoben vhodnemu neojačanemu zvoku, resnično izdelujejo le redki proizvajalci.

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Kakšen pomen ima za dogodek zvok? Ali predstavlja ključni element dogodka in na kaj vse je treba paziti pri njegovem načrtovanju?

Marjan Prirnar: Imamo več vrst ozvočevanja. Če gre za go­vorno ozvočenje, je pomembna definicija govora, raz­ poznavnost besedila. Ločljivost lahko dosežemo z glasnostjo, tako da je predvajana vsebina vsaj za 10 decibelov glasnejša od okoliškega hrupa. Sama glasnost pa še ne pomeni, da bo tudi razumljivost dobra. Ta je odvisna od zvočnih naprav, od postavitve sistema ozvočenja in od akustike prostora. Meritve akustičnega odziva prostora nam pomagajo, da lahko sistem pravilno dimenzioniramo, postavimo in umerimo. Če gre za koncertni program klasične in akustične glasbe, potrebujemo sistem ozvočenja, ki čim bolj pristno reproducira akustični zvok inštrumentov, pomembna pa je tudi akustika prostora, ki je za različne tipe programa zelo različna. Vsekakor je kino dvorana z akustično zelo zadušenim prostorom za kon­ certe klasične glasbe polnoma neprimerna. Ozvočenje klasične glasbe mora poslušalcu dati vtis, da glasbila niso ozvočena, zato morajo biti zvočne naprave absolutno natančne, brez popačenja zvokov. Orkester pri najvišji glasnosti lahko presega 100 decibelov zvočne jakosti, mi pa moramo to raven prenesti do poslušalcev na vsakem koncu dvorane, obenem pa ne vpli­ vati na zvok ob odru. Zvočne naprave je v tem primeru treba časovno uskladiti (zakasniti), da sta originalni zvok orkestra in zvok iz ozvočenja časovno sinhronizirana.

Pop in rock koncerti pa so spet povsem specifičen projekt.

Verodostojnost akustičnih zvokov ni tako pomembna, tonski mojster pa je obenem tudi soustvarjalec zvočne podobe, ki jo zaznamujejo predimezionirani basovski zvoki, glasnost in ostrina, ki jih določa tonski mojster po svojem okusu. Tehniko je treba uporabiti tako, da bo prostor čim bolj enakomerno ozvočen, zvok na najbolj oddaljeni tribuni ob strani mora biti še vedno razumljiv in nepopačen.

Znani ste po tem, da ste s svojim znanjem in opremo pripomogli k realizaciji nekaterih največjih slovenskih dogodkov. Ali bi lahko rekli, da ste največji na tem področju v Sloveniji?

Marjan Prirnar: Mislim, da smo v Sloveniji največji v svoji pa­ nogi, seveda pa nismo edini. Osnovno poslanstvo našega pod­ jetja ni samo posojanje opreme, ampak delujemo celostno - od načrtovanja sistema do oblikovanja zvoka, posebno pozornost pa posvečamo izobraževanju uporabnikov sistemov. S tem ne mislim samo na naše interne zaposlene delavce, temveč vse potencialne uporabnike tonske tehnike. Z zvišanjem splošnega

hooks or hanging gear and color. To synchronize all these components to form one product is really a science. Loudspeakers that are able to reproduce sound that is simultaneous with and well adjusted to the incoming non-amplified sound are produced only by a few rare producers.

How important is sound for an event? Can it be con­ sidered one of its key elements? What do we need to take into consideration when preparing the sound en­ gineering for an event?

Marjan Prirnar: There a several types of amplification. In case of speech amplification, the most important thing would be to get a distinct, clear sound which can be achieved by increasing the audibility. The reproduced sound has to be at least 10 decibels louder than the surrounding noise. Still, increasing the audibility does not necessarily mean that the clarity achieved will be sufficient. It actually depends on the sound devices, amplifying system setting and the acoustics of the place. Measuring the acoustic response of a place or hall helps us to correctly set the amplifying system.

In case of a concert program with classical and acoustic music we will need an amplifying system able to accurately reproduce the acoustic sound of the instruments. The acoustics of the place, which varies with the different types of the program, is also extremely important. For example, when organizing a concert of classical music a cinema hall with its stifling acoustics is definitely not a good choice. When listening to classical music, the audience has to get the impression that the instruments have not been amplified at all, and that is why we need sound devices that are absolutely accurate and do not deform sound. The sound of an orchestra can sometimes surpass 100 decibels, but we have to transmit this sound to the audience in all corners of the hall without influencing the sound directly near the stage. Therefore, we have to postpone the sound to achieve the effect where the original sound of the orchestra and the sound from the amplifiers are synchronized in time.

Pop or rock concerts are another specific project. The authenti­city of acoustic sound is no longer the first consideration, while the sound technician becomes a co-creator of the final sound defined by bass sounds, volume and presence according to his expertise.

The equipment should be used in a way to achieve clear and undeformed sound even at the most distant stand.

You are famous for using your knowledge and equip­ ment to help create some of Slovenian biggest events.

Would you say you are Slovenia’s biggest company in this field?

Marjan Prirnar: I would say we are the biggest, but not the only one. Our main goal is not to lend the equipment. Rather, we strive for a more holistic approach; from system setting planning to sound formation. Our special concern goes to educating and training the system users, by which I do not only mean our em-

Nov sistem ozvočenja Meyer Sound Milo, ki je bil predstavljen na frankfurtskem sej­ mu Musik Messe aprila leta 2003, so prvi v Evropi začeli uporabljati v Festivalu Novo mesto, kjer so veliko prispevali k načrtovanju postavitev sistema.

The new amplifying system Meyer Sound Milo that had been presented at the Frankfurt Musik Messe Fair in April 2003 was first used in Europe by Festival Novo mesto, where they have greatly contributed to the planning of the setting of this system. znanja in zavedanja problematike akustike in psihoakustike se bo naša dejavnost lahko bolje razvijala in tudi bolje tržila. Ve­ liko naročnikov se sploh ne zaveda možnosti, ki jih današnja tehnologija ponuja.

Ali je trenutni izziv domača scena ali tujina? Kako se je razvijala vaša dejavnost, da ste danes lahko prodrli v tujino?

Marjan Prirnar: Delo v domačem kraju je privilegij, ki ga mora­ mo ceniti. Tujina je seveda mamljiva, ker je pač zanimiva in drugačna, a obenem je tudi ta nekomu drugemu domovina.

Torej je v osnovi vseeno, kje delaš, zato tega ne ločujem in ne dajem prednosti nobenemu prostoru, kjer delujemo. Komer­ cialni uspeh v tujini ni nujno večji kot doma, ker so tudi stroški večji, saj je logistika največji strošek našega dela. Glavni motiv oziroma izziv pa mora biti sam projekt. Ta mora biti zanimiv, poseben in ne zgolj komercialno privlačen, in z veseljem se odpravimo na dolgo, dolgo pot.

Glede na to, da vedno več naročnikov želi “dogodek na ključ”, se je treba povezovati z drugimi ponudniki storitev za organizacijo dogodkov. Kako in s katerimi podjetji poteka to sodelovanje?

Marjan Prirnar: Povezujemo se z mnogimi izvajalci, če se da z najboljšimi v svoji panogi. Sodelovanje je dobro, v primeru, ko bi sinergije lahko proizvedle nov produkt v celoti, pa bi lahko bilo odlično. Zaenkrat takega proizvoda še ni, se pa verjetno približuje čas, ko bo naša skupna storitvena dejavnost dosegla raven dejavnosti bolnišnic, kjer se posamezni segmenti »ser­

ployees, but also all potential users of similar sound equipment.

By increasing general knowledge and awareness of the problems related to acoustics and psycho-acoustics our activities stand a greater chance to expand and sell. Many clients are not at all aware of the possibilities offered by the modern day technology.

Are you currently focused on Slovenian or foreign markets? What was the springboard for your break­ through to other markets?

Marjan Prirnar: Working at home is a privilege that should not be underestimated. Foreign markets are of course attractive, because they are interesting and different, but they are also somebody’s home. Therefore, we don’t stress the importance of the place where we work – it basically doesn’t matter. Commercial success abroad is not necessarily bigger than at home; working abroad means higher expenses as logistic is the most expensive part of our work. The most important aspect of work, the greatest motivation or challenge should always be the project itself. If the project is not only commercially attractive, but somehow special or very interesting, we are always ready to hit the road.

Considering the fact that more and more clients want to obtain a turnkey event, it is necessary to establish connections with other service providers in the field of event organization. Who are your partners and how does it all take place?

Marjan Prirnar: We have established connections with many different companies. If possible, we always choose the best ones in their field of business. Cooperation has so far been good, but could

Festival Novo Mesto

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Festival Novo Mesto

38

Komercialni uspeh v tujini ni nujno večji kot doma, ker so tudi stroški večji.

Logistika je namreč največji strošek našega dela.

Commercial success abroad is not necessarily bigger than at home; working abroad means higher expenses as logistic is the most expensive part of our work.

visa« prepletajo in delujejo usklajeno. Navzven tako dajejo vtis, da gre za eno podjetje, čeprav je sestavljeno iz mnogih malih, samostojnih oddelkov.

Pomemben del vsakega podjetja, še posebej, če se ukvarja z organizacijo dogodkov, so ljudje, zaposleni.

Koliko ljudi je zaposlenih v Festivalu Novo mesto? Kako poskrbite, da so vaši (so)delavci usposobljeni za delo?

Marjan Prirnar: V Festivalu Novo mesto je redno zapo­ slenih enajst ljudi, poleg tega pa povezujemo še sedem samostojnih podjetnikov, od katerih imajo nekateri tudi svoje zaposlene, torej lahko ocenim, da je redno vpletenih v naš delovni proces okoli 25 do 30 ljudi. Prirejamo redne interne seminarje, kjer se eden od zaposlenih pripravi za točno določeno temo, na pri­mer električne ozemljitve, in jo predstavi drugim. Ni nujno, da ta oseba največ ve o tej temi, cela zadeva se oblikuje kot neke vrste debatni krožek.

Taka srečanja imamo enkrat do dvakrat na mesec, rezultati pa so odlični. S pomočjo podjetja Meyer Sound smo v zad­ njih dveh letih organizirali tri seminarje, kamor smo povabili tudi zunanje sodelavce in tonske tehnike, ki niso povezani z našim podjetjem. Poleg internih tečajev pa smo zaposlenim omogočili tudi obiske seminarjev s področja akustike, meri­ tev in podobno v Nemčiji, Italiji in na Madžarskem.

Ali vam odgovarja način dela brez velike izpostavlje­ nosti, a obenem z zavedanjem, da brez vas dogodek ne bi mogel biti tako kakovostno izpeljan?

Marjan Prirnar: Naše delo je zelo tesno povezano z umet­ niki, ustvarjalci, režiserji. Vsi so odvisni od našega dela in se tudi velikokrat odločajo o svojem delu na podlagi pos­ vetovanj z nami. Brez nas ne bi bilo filma, predstave, tele­ vizijskega prenosa, koncerta, niti prisege in govora novega

become excellent if we found a way to use our synergies to produce a new, complete product. So far, we have not been able to create such a product, but hopefully, we are approaching a point where our services would resemble those of hospitals, where separate wards exist and work individually, but in cooperation, thereby creating an impression of one big company, even though this company is composed of several smaller, independent departments.

Employees are an essential part of every company, especially if your business is organizing events. How many people do you employ and how do you assure sufficient training?

Marjan Prirnar: Festival Novo Mesto currently employs eleven people on the active list, but since we also work with seven entrepreneurs some of which also employ their own workers, I would say there are about 25 to 30 people currently working on our projects.

We regularly organize internal seminars where one of the emplo­ yees prepares a presentation on a specific topic (e.g. a seminar about electrical grounding) and presents it to others. It is not necessary for the speaker to be the one who has the most knowledge on his specific topic; it is more of a workshop where everybody actively engages in discussion. Such meetings are organized once or twice a month and yield excellent results. By the help of Meyer Sound Company we have organized three seminars in the past two years, and we invited our business partners and some sound technicians that are not connected to our company. We have also been sending our employees to seminars in Germany, Italy and Hungary to learn more about acoustics, measurements and similar relevant topics.

You do not seem to mind working without reputation, even though we are all aware that without you the event would lack in quality?

Marjan Prirnar: Our work is closely connected with artists, cre-

REFERENCE / REFERENCES Koncerti / Concerts: Paul McCartney and Friendship First - Tel Aviv, Andrea Bocelli, Ennio Morricone, Elton John, The Killers, Joss Stone, Kid Rock, Jose Careras, Placido Domingo, Julio Iglesias, Bob Dylan, R.E.M., Joe Cocker, James Brown, TOTO, Pink, Zucchero, Brian Adams, Lou Reed, Status Quo, Marilyn Manson, Pat Metheny, Paco De Lucia, Joe Satriani, Steve Vai, Robert Fripp, Wynton Marsalis, David Byrne, Ray Charles, Siddharta, Fun Lovin’ Criminals, Asian Dub Foundation, Living Colour, Youssou N’Dour, Salif Keitha, Henry Rollins, Public Enemy, Dream Theater, Steve Vai, Khaled, Cesaria Evora, Baba Maal, Misty in Roots, Calexico, Mel C, Vans Warped Tour, Bregović, Balašević, Stefanovski, Čolić, Merlin, Queen: We Will Rock You - muzikal iz Moskve, Balkanika, Omara Portuendo, Gorillaz, Laibach, Whitesnake, Velvet Revolver, RBD (Rebelde) Glasbeni festivali / Musical festivals: Druga godba 1996-2009, Festival Lent, Jazz Festival Ljubljana, Rock Otočec 1997-2009, Runjićeve većeri 2006-2009, Explosion of Fun 2006-2009, Metalcamp, VIP In Music Festival Posebni dogodki / Special events: World Piano Pedagogy Conference St. Louis 1999 in Las Vegas 2000, Opera in Piazza v Oderzu 2006-2009, Peter Greenaway artistični dogodki, gledališke predstave, World Dance Championship 2001, Euro Dance Championship 2004

Festival Novo Mesto

39

predsednika ob izvolitvi. Res pa je, da je delo tonskega in lučnega mojstra delo v senci, a to ima mnoge prednosti, saj ne potrebujemo prav veliko sredstev za osebno zaščito, kos­ tumov in črnih očal.

Kako poteka sodelovanje z vašimi dobavitelji opreme?

Ali je vzajemno in jim tudi vi lahko ponudite koristne informacije in izkušnje “s terena”?

Marjan Prirnar: Podjetje Festival Novo mesto aktivno sode­ luje pri uporabi in testiranju novih proizvodov. Prva pošiljka novega sistema ozvočenja Meyer Sound Milo, ki je bila pred­ stavljena na frankfurtskem sejmu Musik Messe aprila leta 2003, je bila poslana prav k nam. Kot eni prvih uporabnikov smo veliko prispevali k načrtovanju postavitev tega sistema, naredili pa smo seveda tudi precej napak. Danes je ta sistem zelo razširjen po svetu in ga uporabljajo Celine Dion, Cirque de Solelil, produkcije v Las Vegasu, Metallica, Rod Stewart in mnogi drugi, tudi pokojni Michael Jackson se je pripravljal na serijo petdesetih koncertov s tem sistemom.

www.festivalnovomesto.si

ators, directors etc. All of them are dependent on our service and, oftentimes, even consult us before accepting decisions. Without us there would be no movie, no TV transmissions, no concert, not even the oath and speech of the newly elected president... It is true that a sound or light technician’s work does not bring reputation.

Still, this has many advantages; for example we don’t need too many bodyguards, costumes or sunglasses.

How do you cooperate with your suppliers? Is it mu­ tual in the sense that you are the ones to offer them re­ turn information based on your fieldwork experience?

Marjan Prirnar: Festival Novo Mesto Company is actively involved in using and testing new products. The first consignment of the new amplifying system Meyer Sound Milo that had been presented at the Frankfurt Musik Messe Fair in April 2003 was sent exactly to us! As one of its first users we have greatly contributed to the planning of the setting of this system, and, of course, we have also made many mistakes.

Today, this system is being used a lot all over the world by artist such as Celine Dion, Cirque de Solei, Las Vegas productions, Metallica, Rod Stewart and many more. Even the late Michael Jackson had been preparing for a tour of fifty concerts using this system.

Svetla prihodnost čarovnika svetlobe

Luči / Lighting

40

BRIGHT FUTURE OF THE LIGHTING MAGICIAN INTERVJU / INTERVIEW: JERNEJ GUŠTIN, EVENT LIGHTING Besedilo/TextDušan Matičič, Foto/PhotoMartin Cvetko, Event Lighting

Jernej Guštin je eden najboljših slovenskih mojstrov svetlobe, ki ga danes želijo na vseh večjih prireditvah v Sloveniji in izven meja. Svojo pot je začel kot tehnični sodelavec v enem od ljubljanskih klubov, kjer si je nabral ogromno izkušenj. Te mu še danes koristijo pri ustvarjanju svetlobnih kulis na največjih in najbolj odmevnih dogodkih, ki jih danes ustvarja v okviru svojega podjetja Event Lighting.

Jernej Guštin is one of the best Slovenian lighting experts. Nowadays he is wanted at all the bigger events in Slovenia and across the borders. He started his career as a technician at one of the Ljubljana night clubs where he gained a lot of experience, that he uses to his advantage today while creating striking lighting states at the largest events. Jernej Guštin creates his work under the framework of his own company, Event Lighting.

Luči / Lighting

41

Kako ste se začeli ukvarjati s svetlobo?

Jernej Guštin: Že kot srednješolec sem bil velik ljubitelj glasbe in dobrega zvoka. Imel sem prenosni komplet DJ opreme, ki je vključeval tudi preprost light show. Kot študent elektrotehnike sem postal tehnični sodelavec Kluba K4, ki je imel v tistem času zelo raznolik glasbeni in kulturni program. Tako sem začel z oblikovanjem svetlobe in se tudi bolje spoznal s svetlobno in scensko tehniko. V tistem obdobju sem že sodeloval z Mar­ janom Pirnarjem iz Festivala Novo mesto, ki se je ukvarjal z zvo­ kom in ozvočenji, ni pa imel svetlobnega parka. Sposodil sem si nekaj denarja in ga vložil v takrat sodobno opremo proizvajalca Martin Professional.

Za »mojstra luči« se nikoli nisem uradno izobraževal, imam pa veliko praktičnih izkušenj in dobro poznam svetlobno tehniko.Tako lažje izberem primerno opremo za željeni vizu­ alni učinek.

How did you engage in lighting?

Jernej Guštin: I was a big music and sound fan as a high school student and had a portable DJ set that included a simple light show. While studying as a student of electrotechnology I became a technician at Klub K4 which had a very diverse musical and cultural program; I started with lighting design and became more familiar with lighting and scenery engineering. During that period I was already cooperating with Marjan Pirnar from Festival Novo mesto, he was in the sound system business but had no lighting equipment of his own. I borrowed some money and invested in the modern equipment of the time from Martin Professional production company.

I’ve never received a formal education as a “lighting designer”, nevertheless, I have a lot of practical experience and I’m well acquainted with the lighting engineering, my expierence makes it easier to choose the appropriate equipment for a desired visual effect.

Na katerih področjih ste danes najbolj prisotni?

Jernej Guštin: Slovensko tržišče, ki je za nas zaenkrat še vedno glavno, je zelo majhno. Zato je zelo težko biti usmerjen samo na določen segment. Kot podjetje Event Lighting se ukvarjamo z načrtovanjem in izvedbo osvetlitve za koncerte, poslovne dogodke, gledališče, televizijsko in video produkcijo ter tudi za arhitekturne projekte. Poleg tega nudimo najem tehnične

In what regions do you work?

Jernej Guštin: The Slovenian market is our primary choice, although it is still very small, it is therefore very difficult to be orien­ ted at one segment only. As an Event Lighting company we plan and organize the lighting for concerts, corporate events, theatre, TV and video production as well as for architectural projects. Furthermore, we provide a rental service of technical equipment from

Intervju / Interview

42

opreme vodilnih svetovnih proizvajalcev. Gre torej za celotno paleto storitev, od oblikovanja do izvedbe projektov na ključ.

leading world manufacturers, as well as offering our services to design and organize turnkey projects.

Svetloba in luči so po eni strani zelo opazen del vsake­ ga dogodka, po drugi strani pa z njimi dosežemo učin­ke, ki jih na prvi pogled sploh ne zaznamo. Kako pomembna je osvetlitev za dogodek?

Jernej Guštin: Zahteve in namen osvetlitve se glede na vrsto dogodka zelo razlikujejo. Pri poslovnih dogodkih je svetloba in osvetlitev lahko orodje za preoblikovanje prostora in ust­ varjanje prijetnega ambienta za druženje. Pri koncertih pa je ustvarjanje in uporaba svetlobne tehnike že zdavnaj prerasla okvir osvetlitve odra. Poleg zvoka, videa in pirotehnike je os­ vetlitev eden od elementov, ki gradi sodoben glasbeni nastop.

Svetloba in video projekcije vedno bolj dopolnjujejo sceno­ grafijo in jo v določeni meri tudi nadomeščata.

Lighting is a very noticeable part of each event although the lighting effects achieved may not be perceived at first glance. How important is lighting for an event?

Jernej Guštin: The demands and the purpose of lighting may vary a great deal and is dependent on the type of event. In the field of corporate events the use of lighting and illumination may be a tool for redesigning the space and to create a pleasant social atmosphere. At concerts the design and use of lighting engineering has overgrown the framework of stage lighting, in addition to sound, video and pyrotechnics, this is one of the elements utilized to develop a contemporary musical performance. Lighting and video projections supplement scenography, and to a certain degree they also substitute it.

Kako poteka delo mojstra svetlobe pri organiziranju dogodka? S kom vse je potrebno sodelovati in na kaj vse je potrebno paziti pri oblikovanju svetlobe?

Jernej Guštin: V prvi vrsti poskušamo upoštevati želje naročnika in skupaj z njim poiskati najboljšo rešitev, ne glede na vrsto dogodka, lokacijo in finančne možnosti. Za dober končni rezultat pa je treba dobro sodelovati tudi z režiserji, sce­ nografi, koreografi, z vsemi, ki soustvarjajo dogodek. Čeprav je namen in končni učinek svetlobe različen in odvisen od vrste dogodka, je priprava zelo podobna. Najprej je potrebno poznati vsebino oziroma program dogodka in prostor, kjer se bo dogodek odvijal. Prostor s svojimi merami, materiali in bar­ vami zelo vpliva na podobo dogodka. Potrebno je paziti tudi

What is the work of the lighting expert like at an event?

Who do you need to work with, and what do you need to watch for when designing the lighting?

Jernej Guštin: Notwithstanding the type of event, the location and the financial capabilities, we strive to follow the wishes of our client above all, in creating an optimal solution with them.

To achieve a good final result we need to have a good cooperation with the directors, scenographers, choreographers and all the people co-creating the event. Eventhough the purpose and the final lighting effect may vary, and depend on the type of event, the organization structure is very much alike. First of all, we need to be familiar with the content or the program of the event, and the event location. The dimensions, materials and colours of the venue influence the image of the event a lot. Technical restrictions

Najbolj odmevne reference Event Lightinga / The most echoed references of Event Lighting: Koncerti / Concerts

Simply Red (Hala Tivoli in Križanke), Status Quo (Graz), Toto (Graz), The Killers (hipodrom Stožice), Pink (Graz, Imst), Zucchero (Bratislava in Koper), Marylin Manson (Imst in Križanke), John Fogerty ( Imst in Hala Tivoli), Kid Rock (Schladming), Jose Carreras (Zadar), Joe Cocker (Arena Pula), Bryan Ferry (Ljubljana in Zagreb), Vaya con Dios (Križanke), Morcheeba (Križanke), Royksopp (Križanke), Lou Reed (Hala Tivoli), Gorillaz Sound Sistem (Ljubljana), DJ David Guetta (Schladming), DJ Ferry Cor­ sten (GR-Ljubljana)

Festivali / Festivals

Druga godba (Križanke), MetalCamp 09 (Tolmin), Vesolje veselja - Emonika (nastopili so Siddharta, Joss Stone, Neisha,...)

Turneje / Tours

več evropskih in ameriških turnej in koncertov skupine Laibach (od 2002 do 2009) / Several European and American tours and concerts of Laibach (from 2002 until 2009)

Gledališče in opera / Theatre and Opera

Opera Traviata (Oderzo-Italija), opera Carmen (Oderzo-Italija), spektakel 20. stoletje v režiji Matjaža Bergerja (velodrom Novo mesto), opera Tosca (Oderzo-Italija)

Dogodki z neposrednim TV prenosom ali snemanjem in TV produkcije / Broadcasted or Recorded Events and TV Productions

Poslovni in drugi dogodki / Business and other events

Petrolov novoletni sprejem 2009 (Cankarjev dom), Porsche Awards 07 (Viba Studio), 60. obletnica Litostroja (Litostroj), 50. obletnica Luke Koper (Koper), Microsoftova NT konferenca (Bernardin), Lekov novoletni sprejem (Narodna galerija in ljubljan­ ski grad), gala ples Alumni (Hotel Union), 50. obletnica mesta Velenje na tehnične omejitve, možnosti namestitve svetil in opreme, omejitev glede višine, energetske priklope in podobno. Vse to so dejavniki, ki jih je potrebno upoštevati pri pripravi načrta postavitve svetil. Mnogokrat pa se zgodi, da določene zamisli ni možno uresničiti zaradi tehničnih omejitev.

such as height limitations, energy connections and similar restrictions need to be considered, and also the possibilities of installing the illuminants and equipment. It happens quite a lot that certain ideas cannot be carried out due to the technical restrictions of the venue.

Delujete tudi kot glavni podizvajalec Festivala Novo Mesto. Kako se je razvilo to sodelovanje? S kom še red­ no sodelujete pri organizaciji dogodkov?

Jernej Guštin: Kot sem že omenil, se je moje sodelovanje s Festivalom Novo mesto začelo kmalu po tem, ko so začeli s svojo dejavnostjo. Ker sami nimajo dovolj zmogljivosti na področju svetlobe in svetlobne tehnike, potrebujejo zanes­ ljive partnerje. Sodelujemo že več kot 10 let in upam, da bomo tudi v bodoče. Na področju poslovnih dogodkov sodelujemo z različnimi slovenskimi in tujimi agencijami, na področju TV in video produkcije pa z VPK, RTV Slovenija in Studiem Arkadena. Od leta 2002 redno sodelujemo tudi s skupino Laibach na vseh njihovih turnejah in koncertih. Na področju gledališča sodelujemo tudi z Anton Podbevšek teat­ rom in režiserjem Matjažem Bergerjem.

You also work as the priority subcontractor of Festival Novo Mesto. How did you develop this cooperation?

Who do you work with on regular basis while organiz­ ing the event?

Jernej Guštin: As I’ve mentioned before, I started working with Festival Novo Mesto soon after they started their business. They don’t have enough capacities in the field of lighting and lighting engineering, therefore they needed reliable partners. We’ve been cooperating for over 10 years and I hope it stays so in the future. In the field of cooperative events we’ve been working with various Slovenian and foreign agencies, in the field of TV and video production we’ve been cooperating with VPK (digital TV production company), RTV Slovenia and Studio Arkadena. Since 2002 we’ve been cooperating with Laibach at all their tours and concerts and in the field of theatre we’ve been working with Anton Podbevšek Theatre and Matjaž Berger, a director.

Kakšni projekti so vam v največji izziv?

Jernej Guštin: Vsekakor projekti, ki niso rutinski in pri katerih imamo na voljo dovolj časa, da se poglobimo in kre­ativno ustvarjamo. Ni nujno, da so to veliki projekti v smislu količine opreme, velikosti prostora in finančnega proračuna. Vedno se trudimo za najboljši končni vizualni učinek. Skušamo narediti izdelek, ne pa samo prodati naročniku določeno količino opreme.

www.event-lighting.si

Which projects have given you the greatest challange?

Jernej Guštin: By all means the projects that are not routine and where there is enough time to ponder and productively create. It’s not necessary that the projects are big in the sense of the quantity of equipment, location size and budgeting. We’ve always been striving for the best final visual effect possible and we try to make a product rather than sell the client a certain quantity of equipment.

43 Intervju / Interview

osrednja proslava ob dnevu državnosti (2008, 2009), TV Show Trenutek resnice (VPK), Volkwagner-Laibach in Simfonični orkester RTV (Cankarjev dom), Dan D in Simfonični orkester RTV (Križanke), poslovilna slavnostna akademija za plesni par Škufca - Venturini (Cankarjev dom), osrednja državna proslava ob 90. obletnici združitve prekmurskih Slovencev z matičnim narodom

1, 2, 3, mobilni oder 탑e stoji.

www.mobilnioder.si

Oder in streha v eni uri.

Proteus Noir Besedilo/TextPrimož ŠutakFoto/PhotoProteus Noir

To write about a band which brings together so many musical sources, styles and backgrounds, all of which together became something new and unexpected, represents an interesting challenge. Music made by Proteus Noir, namely Aleks Komel, Dejan Baloh and Anže Igličar, is a successful blend of different longings to create music, a culmination of complementary emotions, meeting at the same creative spot while speeding into three different directions.

Njihov povprečni poslušalec bo hitro našel vzporednico s sve­ tovnimi nosilci elektro popa. Toda nekajmesečno iskanje prave poti, predano delo in neusahljiva ustvarjalnost so jih odmaknili od vzporednice z Depeche Mode in tako jih zdaj lahko posta­ vimo med njih, Faithless in na trenutke celo Duo Silence.

V instrumentalni kulisi Proteus Noir se odlično prepletajo bese­ dila, ki so dovolj preprosta, da pritegnejo našo pozornost in si jih ob naslednjem poslušanju že lahko prepevamo. Vsebin­ sko sovpadajo z misterioznostjo in temačnostjo, ki jo ustvarja instrumentalni del. Rdeča nit vseh besedil je odnos z vsemi pričakovanji, hrepenenji in filozofskim postavljanjem retoričnih vprašanj. Avtor ljubi metaforično izražanje in se največkrat

An average listener will quickly place them in the line of the worldknown names of electro-pop, but after a few months of committed searching for the right path and inexhaustible creativity they are now quite a few steps away from it, and could be placed somewhere in between Depeche Mode and Faithless, sometimes maybe even Duo Silence. Instrumental stream of Proteus Noir leaves enough space for their lyrics, as dark and mysterious as the musical part, but simple enough to catch the listener’s attention and make him sing along. Proteus Noir speak about expectations and longings, and strive to answer rhetorical questions in a philosophical way.

They love metaphorical expressions and often take shelter of the abstract; the indefinable sea, sky and dreams, just like the author’s

45 Glasba / Music

Pisati o glasbeni zasedbi, pri kateri se je združilo toliko glasbenih izhodišč, ozadij in spogledovanj, ki so se spremenila v nekaj nepričakovanega, je eden najzanimivejših izzivov. Godba skupine Proteus Noir, ki jo sestavljajo Aleks Komel, Dejan Baloh in Anže Igličar, se sliši kot posrečen kompromis med raznovrstnim hrepenenjem po glasbenem ustvarjanju, ali kot skupek komplementarnih čustev, ki se med drvenjem proti različnim ciljem srečajo na skupni ustvarjalni točki.

Izhajate iz precej različnih glasbenih voda z različnimi izkušnjami. Kako ste se našli in pristali na skupni točki ustvarjanja?

Dejan: Res smo se prej ukvarjali z drugačno glasbo. Anže je bil aktiven v obetavni elektro-house zasedbi Soundtrap, ki je imela nekaj uspešnih nastopov po raznih klubih. Jaz sem kot kitarist nekaj let gostoval v punk-pop-ska-rock skupini Pudding Fields, Aleks pa je bil vokalist v grunge-rock vodah. Z Anžetom se poznava že več let in dolgo sva se dogovarjala o sodelovan­ ju. Ustvarjanje se je začelo, ko sem v studio prinesel novo kla­ viaturo, ker sem obnavljal stanovanje in sem rabil prostor. Tako sva z Anžetom začela pozno v noč obračati gumbe v iskanju pravega zvoka.

Anže: Na začetku nisva točno vedela, kaj naj počneva, in sva se prepustila toku. Mislim, da sva hotela biti na začetku duo, Dejan se je celo spopadel s petjem. Idej je bilo precej, a so bile neizdelane, saj nisva niti vedela, kakšno glasbo bova delala. Ko si zaprt v lastnem studiu, se v vrtincu idej zlahka zgubiš. Po­ tem sva začela iskati pravega pevca. Najprej sva poskusila celo s pevko, ko pa se je nekega sončnega dne prikazal Aleks, je bila stvar jasna.

Glasba / Music

46

Kako se usklajujete, glede na to, da ste osebe s tako raz­­ličnimi glasbenimi okusi? Kako nastaja glasba?

Anže: Nimamo tako različnih glasbenih okusov, kot se zdi. Ko se vozimo v avtu, poslušamo podobno glasbo. Res pa smo se drug od drugega nalezli glasbe, ki je prej nismo poslušali - tako se je celo Aleks začel spogledovati s technom. Glasba nastaja spontano, vsak pa prispeva tisto, kar zna. Jaz sestavim ritem, bas linijo, se igram z odštekanimi zvoki in naredim razgibano podlago ter skrbim za produkcijo in končni miks. Potem pride Dejan, poišče zanimivo harmonijo na kitari, ali pa raziskuje kak synth. Aleks pa se z vokalom in presenetljivo liriko tako dobro znajde, da na koncu nastane komad.

Aleks: Ko sem prišel v skupino, je bilo veliko materiala že na­ pisanega, upesnjenega in posnetega, besedila pa so bila De­ janova potovanja skozi njegove občutke. Skupaj smo vse malce spremenili in glasba je dobila drugačno razsežnost. Besedila za nekaj komadov sem črpal iz starih, nikoli realiziranih idej, za katere si nisem nikoli mislil, da lahko dobijo mesto v elektronski glasbi. Toda ta glasba je bila drugačna. Ko me je poklical Dejan in mi ponudil sodelovanje, nisem vedel za kaj gre, a že prvi ko­ mad, ki so mi ga predstavili, mi je bil takoj všeč, tako da smo še isti dan posneli vokal.

Dejan: Zanimivo, da je v končni verziji tega komada še vedno nekaj vokala, ki smo ga posneli prvi dan. Enostavno Aleks ni nikoli več zapel tako dobro kot takrat.

Kako pa je potekalo snemanje albuma, glede na to da ste zelo zaposlene osebe in tudi iz nekoliko oddaljenih krajev? Anže in Dejan sta z Obale, Aleks iz Goriškega ...

Anže: Imamo srečo, da si delimo lastni studio z dobrim prijateljem Danielom Lovšinom, bivšim članom zasedbe Soundtrap. Oprema je skupna, prostori pa njegovi. Zato se mu najlepše zahvaljujemo za potrpežljivost, čas in zaupanje v naše delo. Sam nisem tako zaposlen kot Dejan in Aleks, moje delo je glasbena produkcija, zato sem vedno v studiu.

V vseh ustvarjalnih letih produkcije in snemanja sem prido­ bil veliko znanja ter se naučil trikov in skrivnosti, ki jih ne da nobena šola. Zelo rad eksperimentiram z elektroniko, zato tudi uživam pri ustvarjanju zvoka Proteus Noir. Največkrat se dobivamo med vikendi, ker imamo samo takrat vsi čas.

Na začetku smo se dobivali le na snemanjih, potem pa smo postali kar posrečena klapa.

Aleks: V bistvu nas skozi skupno ustvarjanje povezuje še ne­ kaj več. Jaz temu pravim da delamo »magic«. Sicer pa se vse te stvari na koncu izražajo v glasbi sami.

The three of you come from a fairly different musical background and have different experience. How did you at all come together to start a common project?

Dejan: It is true that all of us were into different music styles before. Anže was an active member of a prospective electro-house band called Soundtrap, and they had some successful performances in different clubs. For a few years, I had been a guest guitar player in Pudding Fields, a punk-pop-ska-rock group, while Aleks was a lead vocalist in some grunge-rock band. Anže and I go way back, and we have been planning to work together for quite some time. Actually, it all started when I came to the studio with a new keyboard. I was renovating my apartment and needed some more space... So, Anže and I started to spend our nights turning the switches in search of the right sound.

Anže: We did not really know what exactly we were after, so we just went with the flow. I think we wanted to be a duo in the beginning and Dejan even took up singing. There were many ideas, but they were unperfected, because we did not even know what kind of music we wanted to make. When you are trapped in a studio, it is easy to get lost in a whirlpool of ideas. Soon, we started looking for a real singer. We even tried with a lady-singer, but once Aleks showed up, it became crystal clear.

How do you manage to come together, despite the difference in your musical taste? How can you make music together?

Anže: Our tastes are not as different as it seems. While driving in the car, all of us listen to similar music. It is true, though, that we somehow got into the habit of listening to the music we had ne­ ver listened to before; even Aleks started to like techno. Our music is created in a spontaneous way. Each of us does what we know best. I compose the rhythm and the base line, and then play with some far-out sounds to make a musical background. I am also the producer in charge of the final mix. Dejan jumps in to find an interesting consonance on his guitar, or sometimes even takes up an exploration of a synth. Aleks, on his terms, is such a good vocalist and song-writer, that finally, a song is created in no time.

Aleks: When I joined the group most of the material was already done, songs were already recorded, and the lyrics were Dejan’s emotional trippings. Together, we then introduced some changes and the music gained a whole new perspective. I took some old ideas and transformed them into new lyrics. I would have never thought they could find their place in electro music. Still, this music was different. When Dejan first rang me to invite me to cooperate with them on their project, I had no idea what it was all about. So, they played one of the songs and I instantly liked it, and we even recorded the vocals for it on that very day.

Dejan: Interestingly enough, the final version of that song still contains some of the vocals we recorded that day. Aleks simply never sang it that well again.

How did you manage to record the album, consider­ ing the fact you are all very busy and also live quite far apart? Anže and Dejan are from the Coast, Aleks from the continent....

Anže: We are lucky to share our studio with our good friend Da­ niel Lovšin, an ex Soundtrap member. While the studio belongs to him, the equipment belongs to all of us. We are really grateful for his patience, time and trust. I am not so busy as Dejan and Aleks.

I am a sound producer, and therefore I am always in the studio.

During all these years of being a producer I have gained a lot of knowledge and experience, and discovered tricks and secrets that you cannot learn in school. I love to experiment with the electro­ nics, and Proteus Noir has become my passion. We usually meet on weekends, because this is when all of us are free from work. In the beginning, we would only meet to record the songs, but with time, we became an interesting bunch.

Nimamo tako različnih glasbenih okusov, kot se zdi. Ko se vozimo v avtu, poslušamo podobno glasbo.

Our tastes are not as different as it seems. While driving in the car, all of us listen to similar music.

Aleks: Actually, there is more to it than that. I call it “doing ma­gic”, but I guess all of this can be perceived in our music.

Album ste torej posneli. Kje in kako se lahko dobi vašo glasbo?

Aleks: Album Children of Light je posnet, snemali smo ga približno eno leto, kadar smo imeli čas. Ko smo zaključili sne­ manje, smo začeli z vajami za koncert in pošiljali posnetke na razne založbe. Ker smo vedeli, da brez nastopov ne bomo tržno zanimivi, nismo niti resno računali na odgovor.

Dejan: Bolj kot o posnetkih razmišljamo o koncertih. Če bo kdo želel izdati naš material, nas bo že našel. Smo pa ugodna ponudba, saj z nami ni nobenih stroškov snemanja. Trenutno je do naše glasbe najlaže priti na koncertu, kjer se lahko dobi kopija CD-ja. Nekaj glasbe je dosegljive tudi na naši spletni strani, ki je trenutno v prenovi.

Ob poslušanju vaše glasbe se poraja vprašanje, kako stvar zveni v živo. Kje in kdaj vas lahko vidimo in sli­ši­ mo? Kakšni so vaši načrti za prihodnost?

Aleks: To naj ocenijo poslušalci sami. Mi obljubimo, da bodo koncerti doživeti, kakovostni in nabiti z energijo. Komadi so za koncert nekoliko prirejeni, vendar še vedno z zvokom Pro­ teus Noir, le z več kitarskimi prijemi, in glasba je v celoti bolj direktna in organska. Imeli pa smo kar nekaj nastopov z dobrim odzivom. Za naprej še ne vemo točno, obeta pa se nekaj za­ nimivih stvari.

Anže: Predvsem si želimo ohraniti kontinuiteto prisotnosti v raznih medijih in čim več dobro organiziranih koncertov, kot je bil zadnji v sodelovanju s Prozvokom, kjer nas je presenetila res profesionalna ekipa. Če je organizacija dobra, je tudi sam na­ stop kvalitetnejši. Slaba organizacija, slaba tehnična podpora in slab tonski mojster pa lahko pomeni začetek konca perspe­ ktivne glasbene skupine.

www.proteusnoir.com

So, you have recorded an album. Where and how can we get your music?

Aleks: The album Children of Light is now finished, but it took us almost a year to record it. We would only come together to record when we had time. When the recording part was over, we started to practice for live concerts and sent our recordings to different labels. We knew that without putting on live shows we cannot really be profitable, so we never really expected any answer.

Dejan: Our focus is more on concerts than recordings. If someone wants to publish our records, they will surely find us. Still, we are quite a good offer, because we record everything ourselves, so no recording expenses. At the moment, the best way to get our music is at a concert, where you can also get CD copies. Some of the music is accessible through our web page, which is currently being renovated.

People who like to compare would certainly compare you to the most prominent electro-pop group, De­ peche Mode. What do you think about that?

Dejan: Well, that sounds quite complex; it could be taken as a compliment, because we are great fans of Depeche Mode. On the other hand, it could mean that our music is not authentic. I would not make such limitations. There are, of course, some common points. Still, there are many more bands like this it is just that people do not know them. Depeche Mode became so prominent that by comparing us to them people easily understand what it is all about.

Anže: We follow musical trends from the eighties and early nineties, when the era of good quality music came to an end. The production used to be much better, clearer and more dynamic. In those days, music was creative, while today is only »created«. Just think of Billy Idol, Michael Jackson, Grace Jones or Sade. Today, no one makes such music anymore, and there are no albums with such production. Even musicians are no longer such icons as they used to be, when they were cherished for what they were doing and what they represented.

Glasba / Music

47

PR in promocija PR AND promotion Promocija dogodkov in odnosi z javnostmi so nujno potreben sestavni del vsake prave prireditve, še posebej ko gre za dobičkonosne projekte, v katere vlagamo različno visoke zneske. Tako pa je tudi v primeru prireditev, ki jih podjetja organizirajo za svoje zaposlene, partnerje in stranke.

Promotion and public relations are very important in every event, especially in commercial projects that attract high investments. This applies also to events that are organised by companies for their employees, partners or clients.

Promocija / Promotion

48

Bojan Rojko z Bryanom Ferryjem. / Bojan Rojko with Bryan Ferry.

Pravilen pristop k področju promocije in odnosov z javnostmi, ki zajema tako celovito podobo dogodka kot tudi njegovo primerno predstavitev, v največji meri vpliva na to, kako bo pri­reditev obiskana. O tem in še o čem smo se pogovarjali z lastnikom Agencije Antonov, Bojanom Rojkom, ki spada med pionirje samostojnega in neodvisnega razvoja, predvsem siste­ ma odnosov z javnostmi in promocije koncertov za različne naročnike v Sloveniji in v tujini, na čemer dela že dvanajst let.

The right approach to promotion and public relations that embraces a comprehensive image of the event as well as its appropriate presentation has a great impact on how many people attend the event.

This is one of the topics we discussed with the owner of the Antonov Agency, Bojan Rojko. He has been in this business already for twelve years and is one of the pioneers of autonomous and independent development, in particular of the public relations system and promotion of concerts for different clients in Slovenia and abroad.

Katerih projektov se najraje spominjate, predvsem tis­ tih, pri katerih ste odigrali ključno vlogo v promociji in odnosih z javnostmi?

Bojan Rojko: Lahko rečem, da smo ravno predlani dela­li naj­ od­mev­nejši projekt zadnjih let v Ljubljani, nastop mla­dost­

Which projects left you the best memories, particu­ larly those you played the key role in promotion and public relations?

Bojan Rojko: I can say that it was two years ago that we worked on the most high-profile project in the past years in Ljubljana –

V Sloveniji je vsaj 200 medijev, s katerimi je v primeru velikih projektov treba sodelovati.

There are at least 200 media in Slovenia that you have to cooperate with in big projects.

Katere so osnovne naloge PR-ovca pri dogodku – od ideje, do dela, ki poteka po zaključenem dogodku?

Bojan Rojko: Piarovec se mora primarno zavedati vseh slabih in dobrih pogojev za promocijo dogodka, kar preveri na več načinov. Pomembno je, da s svojim znanjem in izkušnjami za­ jame osnovni ciljni trg in se ga pravilno loti. Vsekakor je nje­ gova primarna naloga ta, da z rezultati pri medijskih objavah pripomore k temu, da je dogodek čim bolje oglaševan in kar je še najbolj pomembno, prikazan v pravi luči.

To je primarna vloga. Kaj pa širše?

Bojan Rojko: Moja razširjena vloga pri določenih projektih je celovita promocija koncertov, kot tudi management dogodkov oziroma svetovanje glede organizacije, saj se kot sodelujoči čutim soodgovornega za njihovo uspešnost, pa naj gre za finančni vidik v primeru komercialnih prireditev, ali pa vsebin­ sko uspešnost. Ta je pomembna predvsem, ko gre za dogodke, ki so za javnost brezplačni, pa naj so to dogodki za podjetja ali pa tisti, ki jih organizirajo za svoje stranke. Smiselno je namreč delati takšne dogodke, ki bodo dosegli želeni učinek.

the concert of the teenage band RBD that was seen by around 25,000 young people at four concerts. I also like to mention pro­ jects like the Eros Ramazzotti concert in November in Hala Tivoli, the October concert of ZZ Top in Ljubljana, last year’s Siddharta and Il Divo concert, two years ago Jean Michel Jarre concert, Big Foot Mama in Križanke, Bryan Ferry, Simple Minds, Vanessa Mae, Carmina Burana – monumental opera in Hala Tivoli a few years ago, Phil Collins in Zagreb, where I did the promotion for Slovenia, and many more. I feel also very enthusiastic about projects taking place outside Ljubljana, for instance, last year’s extremely successful Schengenfest festival in Vinica in Bela krajina, Festiko in Koper and others.

What are the basic tasks of a PR person at an event – from the idea to the work after the event?

Bojan Rojko: In the first place, a PR person has to be aware of all bad and good conditions for an event, which they have to check in different ways. It is important that, with their know­ ledge and experience, they embrace the initial target market and tackle it in the right way. Through media releases, they have to ensure that the event is promoted in the best way and presented in the best light.

This is the primary role. What about in a broader con­ text?

Bojan Rojko: In certain projects, my role is also to take care of event management and consultancy regarding the organisation of the event, since, as a partner, I feel responsible for its success, concerning the financial side in the case of commercial events, or the contents. This is important in particular when it comes to events that are free for the public, events for companies or those that are organised for clients. If one organises such events, they should achieve the desired effect.

Kakšen je vpliv promocije na uspešnost običkonosnih projektov danes in kakšen je bil v preteklosti?

Bojan Rojko: Vsekakor se je z leti to močno spremenilo. Še pred petnajstimi leti je skoraj zadostovalo, če si v Ljubljani obe­ sil 300 plakatov, poskrbel za najavo koncerta v nekaj glavnih medijih in koncert je bil skorajda razprodan. Danes, ko je tržišče precej bolj zasičeno, pa je potrebna celovita konstrukcija pro­ mocije, določanje ciljnega občinstva, po potrebi tudi raziskava tržišča. Medijski prijemi so dosti bolj obsežni kot nekoč, nav­ sezadnje je v Sloveniji vsaj 200 medijev, s katerimi je v primeru velikih projektov treba sodelovati. Naš trg je namreč specifičen zaradi dokaj redke poseljenosti in hkrati nižje kupne moči v primerjavi z zahodnimi državami Evropske unije, poleg tega pa je medijski prostor precej bolj razdrobljen. V dvanajstih letih delovanja sem lahko spremljal tako spreminjanje trga kot tudi razvoj medijskega prostora, in lahko rečem, da to zelo koristi pri končni uspešnosti projektov.

How does promotion influence the success of com­ mercial projects today and how was it in the past?

Bojan Rojko: It has changed considerably over the years. Fifteen years ago, it was enough to erect 300 billboards around Ljubljana, to announce the concert in the major media and the concert was almost sold out. Today, the market is much more saturated and thus one should use comprehensive promotion, determine the target public, and if needed also research the market. Media approaches are much more wide-ranging as they used to be, since there are at least 200 media in Slovenia that you have to cooperate with in big projects. Our market is very specific due to its low population and the lower purchasing power compared to Western countries of the European Union, and the media space is much more dispersed. In twelve years of work, I was able follow the changing of the market as well as the development of the media space and I may say that this is very useful in the final success of projects.

Kaj predlagate organizatorjem dogodkov glede seg­ menta promocije in odnosov z javnostmi?

Bojan Rojko: Kot sem že prej omenil, je izjemno pomembno, da se promocije dogodka lotijo načrtovano, kar lahko naredijo s svo­ jimi sodelavci, ali pa najamejo zunanjo agencijo, ki poskrbi za ce­ lovit pristop k javnosti. Vsekakor je pomembno, da za to poskrbijo ljudje, ki so tega vešči in se spoznajo na mehanizme promocije. Na ta način ne bodo le izvedli uspešne promocije dogodka, temveč bodo s svojim znanjem poskrbeli tudi za čim manjše stroške pri njeni izvedbi. Vsekakor pa je v promocijo dogodka vredno vlagati znesek, ki je sorazmeren z vrednostjo projekta.

What do you propose to event organisers regarding promotion and public relations?

Bojan Rojko: As I have mentioned before, it is extremely important that promotion is being carefully planned, which can be done with colleagues or by an external agency that takes care of a comprehensive approach to promotion. It is important that this is being taken care of by competent people who are familiar with promotion mechanisms. Thus they will not only provide successful event promotion, but, with their knowledge, will also keep the costs for its realisation low. However, it is worth to invest into the event promotion an amount that is proportional to the project value.

www.antonov.si

49 Promicija / Promotion

niške skupine RBD, ki ga je na štirih koncertih videlo okoli 25.000 mladih. Rad omenim tudi projekte, kot so aktualni Eros Ramazzotti novembra v Hali Tivoli, oktobrski koncert ZZ Top v Ljubljani, Siddharta in Il Divo v lanskem letu, leto prej koncert Jeana Michaela Jarra, Big Foot Mama v Križankah, Bryan Ferry, Simple Minds, Vanessa Mae, Carmina Burana – Monumentalna opera pred leti v Hali Tivoli, Phil Collins v Zagrebu, kjer sem delal promocijo za Slovenijo, in še bi lahko našteval. Nadvse sem navdušen tudi nad projekti, ki potekajo izven Ljubljane.

Takšni so na primer lanski izjemno uspešen festival Schengen­ fest v Vinici v Beli Krajini, Festiko v Kopru in drugi.

KREATTIVA

Iz son@ne istrske zemlje in ¡lahtnosti vinske trte, ne¡en kot jutranja rosa, poln prefinjene strasti in nepozabnega razkoœja. Dar narave je dozorel.

Minister za zdravje opozarja. Prekomerno pitje alkohola œkoduje zdravju.

VINAKOPER d.o.o., [marska cesta 1, 6000 Koper

lahtna esenca darov narave.

Od idejne z popolne izv Prozvok

54

From a mere concept to

Kreativni soustvarjalci dogodkov, strokovnjaki pri izbiri ustreznih konstrukcijskih rešitev z natančno izvedbo. Prozvok združuje ekipo strokovnjakov, ki si že deseto leto uspešno utira pot na slovenskem in tujem tržišču. Sodobna tehnologija in oprema, izobraževanje kadra v tujini, ažurno sodelovanje z naročniki, predanost delu, bogate izkušnje in široka paleta referenc je le nekaj prepoznavnih lastnosti podjeta Prozvok.

INTERVJU / INTERVIEW: MARTIN IN MATEJ CVETKO, PROZVOK Besedilo/TextŠpela Bric, Foto/PhotoMojca Ketiš in Prozvok Martin Cvetko, direktor podjetja Prozvok, uspešno krmari med naročnikovimi idejami in realizacijo, Matej Cvetko pa si je kot tehnični direktor podjetja v letih svojega delovanja na terenu pridobil številne izkušnje ter na njihovi podlagi razvil oder conavi, ki velja za izjemno praktično dodelano konstrukcijo.

Poudarjata, da kot ekipa pri svojem delu stremijo k ustvarjanju še neizdelanih scenskih rešitev in prav v tem vidijo največji izziv pri vsakem novem projektu.

While Martin Cvetko, the company’s General Manager, successfully combines clients’ ideas and expectations with the existing possibilities of realization, their Technical Director, Matej Cvetko, uses his skills and experience to create new products, such as the conavi stage – an extremely practical and perfected construction. As a team they focus mostly on creating ever new, unseen scenic constructions, which, in all their projects, represent the biggest challenge.

zasnove do vedbe Creative facilitators of events, experts in finding appropriate constructional solutions, always very precise in their realization. Prozvok, a group of experts in their field, have been highly successful in Slovenia and abroad for exactly ten years. The state-of-the-art equipment and technology, educating their staff abroad, importance of client satisfaction, dedication to their work, lots of experience and excellent references are but some of the trademarks of the Prozvok Company.

Začetki podjetja Prozvok segajo v leto 1999, danes pa na slovenskem tržišču predstavljate eno vodilnih pod­ jetij, ki naročniku omogoča celovite scenske rešitve, od postavitve odrov, koncertnih streh in šotorov do aluminijastih konstrukcij, različnih velikosti. Kako je nastalo podjetje Prozvok?

Martin Cvetko: Pred letom 1999 sem delal na Študentski orga­ nizaciji na oddelku za kulturo, kjer sem bil zadolžen za or

Established in 1999, the Prozvok Company is today known as one of the leading companies on the Slove­ nian market that offers perfect scenic constructions, from stages, concert roofs and tents to different-sized aluminous constructions. How did it all happen?

Martin Cvetko: Previous to 1999, I used to work in the Student Organization’s Department of Culture. My job was to organize all

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ganizacijo vseh večjih prireditev. Ob organizaciji enega od do­ godkov sem želel dobiti ustrezen oder, vendar se je pozneje izkazalo, da to ne bo tako preprosto. Takrat sem se odločil, da je treba ta segment v Sloveniji razviti. Z bratom Matejem sva ustanovila skupno podjetje, razvila prototip odra in se začela povezovati z drugimi ponudniki storitev. Najprej se je razvilo sodelovanje s Festivalom Novo mesto in skupaj smo pričeli pridobivati prve resnejše projekte. Prozvok je skrbel za kako­ vostno postavitev odrov, Festival Novo mesto pa za ustrezno ozvočitev in luč.

Matej Cvetko: Vendar pa je bil takrat naš trg glede dogodkov manj razvit, predvsem je bilo precej manj ponudnikov storitev.

Iz tistega časa se spomnimo predvsem tehnično prepostejših prireditev, danes pa je drugače. Slovenija na področju tehnične opremljenosti sledi tujini. Novosti sicer prihajajo k nam z za­ mikom, vendar smo vedno bolj v koraku s časom.

major events. Once, I really needed a suitable stage which was not at all easy to find, and I realized that was a niche on the Slovenian market that terribly needed some development. Together with my brother Matej I founded a company, developed a prototype of a stage and entered into connections with similar companies. We started cooperation with the Novo Mesto Festival, and together, we got involved in the first serious projects. While Prozvok was in charge of putting up a good-quality stage, Festival Novo Mesto took over the lighting and amplification.

Matej Cvetko: Our market was less developed at the time, there were fewer events, and, especially fewer companies offering the services. The events were technically less complicated, but much has changed until today. As far as technical equipment goes Slovenia is almost as good as the rest of Western Europe. It is true that we cannot instantly implement all the innovations, but we do manage to keep pace with them.

Kaj postavlja Prozvok v ospredje danes?

Martin Cvetko: S svojimi proizvodi in storitvami želimo pokri­ ti čim širši spekter. Smo specialisti za grajenje večnivojskih odrov in podestov, imamo široko paleto aluminijastih kon­ certnih streh, s katerimi lahko pokrijemo tako male gasilske

What are the companies’ priorities today?

Martin Cvetko: Our goal is to offer as many products and services as possible. We are specialists in putting up multi-level stages and landings, we offer a wide range of aluminium concert roofs, suitable for all sorts of events, from garden parties to stadium

Največja težava je dobiti strokovno usposobljen kader, saj tovrstnega učnega programa pri nas ni.

The greatest problem is certainly to find trained workers, because there is no such branch of study here.

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Skupaj z naročniki gradimo na zaupanju, saj se zavedamo, da vsi soustvarjamo dogodek.

We strive to instill trust and the awareness that our creative contribution is equally important. veselice in manjše prireditve kot tudi večje stadionske kon­ certe. Smo največji izposojevalec varnostnih ograj, imamo pa tudi pohištveni oddelek, ki skrbi za izposojo prireditvenega pohištva: banketnih, barskih in gasilskih miz, aluminijastih, barskih in kongresnih stolov, zof, plamenic, svetlobnih tabel, usmerjevalnih količkov in lestencev. Velik poudarek dajemo medsebojnemu odnosu s stranko. Če hočeš biti korak pred konkurenco, je treba veliko napora vložiti v logistiko, čim hitrejši prevoz, enostavno skladiščenje, hitro montažo ter ka­ kovostno izvedbo. Razvili smo nekaj novosti, ki skrajšajo čase montaže in demontaže, saj je pri dogodkih velikokrat prav čas omejevalni dejavnik. V podjetju spodbujamo novosti, ki jih predlagajo zaposleni, saj le na ta način lahko izboljšujemo ka­ kovost svojih storitev.

Kakšne spremembe ste zaznali na slovenskem trgu z uvozom nove tehnologije?

Matej Cvetko: V zadnjih dvanajstih letih se je situacija v Slo­ veniji močno spremenila. Včasih je bilo postavljanje odrov v sklopu gledaliških ateljejev, za odre večjih zunanjih prireditev pa so skrbela gradbena podjetja. Danes se podjetja specializira­ jo in zato je kakovost zagotovo boljša. Ob sodelovanju našega podjetja s tujino sva z bratom v Slovenijo pripeljala nove proiz­ vode in zaradi boljše, sodobne ponudbe so tudi naši naročniki začeli večati prireditve in jih izpopolnjevati. Danes imamo na

concerts. We are the biggest company to offer railings for rent, but also offer furniture like many different types of chairs and tables, sofas, torches, light boards and similar electronic devices.

Customer relations are of the utmost importance. Perfected logistics, rapid transportation, easy storage and quick, well done assembling help us to move a step ahead from our competitors. We have developed a few innovations that help to reduce assembling and disassembling time, which is very important, considering the fact that time is usually the most important factor when it comes to organizing an event. We tend to support the innovations suggested by our employees, because this is the only way to improve the quality of our services.

What changes has the import of new technologies bro­ught to the Slovenian market?

Matej Cvetko: The situation in Slovenia has certainly changed a lot in the last twelve years. Setting up stages indoors used to be done by theater studios. Stages at the outdoor events were set up only by construction companies. Today companies are getting more and more specialized, which leads to an increase in quality.

My brother and I have started cooperation with foreign companies, which brought new products onto the Slovenian market, and this new, better and more modern equipment allowed our clients to organize bigger and better events. Today, for example, we can choose between several stage heights or roof-sizes which, ten

Enkrat letno izvajamo interna izobraževanja s področja aluminijastih, odrskih in drugih konstrukcij, letno pa izvajamo tudi seminarje iz varstva pri delu.

Once a year, we organize internal seminars about aluminum stages and other constructions, which include yearly seminars about safety at work.

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primer na voljo številne možnosti glede višine odra in velikosti streh, česar pred desetimi leti še ni bilo. Vsa ta leta smo se trudili in sedaj imamo proizvode, ki so evropsko primerljivi in v skladu z evropskimi standardi.

Martin Cvetko: Povezali smo se s češkim podjetjem Milos S.R.O., ki je eden naših prvih dobaviteljev koncertih streh, zelo uspešno smo začeli sodelovati tudi s podjetjem Litec. Pri obeh podjetjih šolamo svoje kadre, saj verjamemo, da so proizvajalci tisti, ki lahko podajo najboljše znanje ljudem, ki vsakodnevno delajo z njihovimi proizvodi. Med drugim uporabljamo tudi oder layer, ki v Evropi velja za sinonim za kakovost.

years ago, would not at all be possible. We have been trying very hard all these years, and today we are happy to say that we can offer matching products that meet all the European standards.

Martin Cvetko: We have established connections with a Czech company Milos S.R.O., which is one of our first concert roofs supp­ liers. Our cooperation with the Litec Company has also proved very successful. We are constantly sending our staff to both companies for education and training, because we believe that the produ­cers are the ones to offer the most accurate instructions about their products. The layer stage that we use is known throughout Europe as a synonym for quality.

S kakšnimi težavami se lahko sreča podjetje pri svojem vzponu?

Martin Cvetko: Največja težava je dobiti strokovno usposo­ bljen kader, saj tovrstnega učnega programa pri nas ni. Gre za večplasten proces, pri katerem se skupaj z rastjo podjetja bogatijo tudi izkušnje in prav temu dajemo največ poudarka. Ker se zaveda­ mo, da je za uspešno delovanje najbolj pomemben dober in kako­ vosten kader, v zaposlene vlagamo največ. Poleg izobraževanja v sklopu našega podjetja se zaposleni izobražujejo tudi v tovarnah proizvajalcev v tujini. Trenutno se o sodelovanju dogovarjamo z eno od nemških šol, ki organizira seminarje iz postavljanja odrov in aluminijastih konstrukcij. Pri nas namreč ni izobraževalnega si­ ste­ma, ki bi omogočal pridobitev teh znanj. V tujini, predvsem v Angliji in Nemčiji, je to področje bolj profesionalno zastavljeno, saj lahko takšna dela opravljajo zgolj monterji, ki so pridobili ustrezno znanje in licenco. Enkrat letno, navadno v zimskem času, izvajamo interna izobraževanja s področja aluminijastih, odrskih in drugih konstrukcij, letno pa izvajamo tudi seminarje iz varstva pri delu.

What are the obstacles that a rising company can face?

Martin Cvetko: The greatest problem is certainly to find trained workers, because there is no such branch of study here. It is a complex process; a growing company results in an extension of experience, and that is exactly what we are trying to keep in mind. Our main focus is on the employees, because we are well aware that they are the driving force behind our success. Besides education that we offer inside our company we also send them abroad, to get trained directly under the producers. Currently, we are establishing contacts with a school in Germany, where they organize seminars about assembling stages and aluminum constructions, which you cannot learn in Slovenia. Elsewhere, in England and Germany especially, this field is more professionally organized, as only licensed professionals can do this work. Once a year, usually during the winter, we organize internal seminars about aluminum stages and other constructions, which include yearly seminars about safety at work.

Kako je sestavljen vaš kader?

Matej Cvetko: Trenutno zaposlujemo 18 ljudi, 12 je redno za­ poslenih, ostali honorarno. Vsi monterji so specializirani za delo na dvižnih ploščadih ter plezanje na višini. Poleg monterjev ima­ mo zaposlenega tudi mizarja, kovinarja, mojstra za polaganje preprog, pleskarja in šoferje z licenco. Imamo tudi zunanjega sodelavca s področja statike, ki nam pri zahtevnejših projektih poda strokovno mnenje glede statične ustreznosti konstrukcije.

Kako ohranjate svojo konkurenčnost?

Matej Cvetko: Poleg stalnega izobraževanja je nujno pozna­

How many people do you employ?

Matej Cvetko: At the moment, we employ 18 people of which 12 are on the active list. All the workers who mount the stages are well trained and specialized for climbing and working on suspended platforms. We also employ a joiner, a metal worker, a worker skilled in laying carpets, house painters and some licensed drivers. For more complicated constructions we always consult a statics expert.

How do you maintain your competitive position?

Matej Cvetko: It is important to keep up with all the innovations in the field, but also to know the circumstances of work, purchasing

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V podjetju spodbujamo inovacije, ki jih predlagajo zaposleni, saj le na ta način lahko izboljšujemo kakovost svojih storitev.

We always encourage innovations suggested by the employees, because this is the only way to ensure the increasing quality of our services. vanje razmer dela, kupne moči, tehnologije dela, zelo pomembno pa je biti prilagodljiv. Stranki je treba znati sveto­ vati in sodelovati z njo vse od začetne faze nastajanja dogodka.

Martin Cvetko: Mi soustvarjamo dogodek in rastemo sku­ paj z njim. Naši naročniki nam zaupajo in nas povabijo v svoj krog, ko ideje za dogodek šele nastajajo, saj se zavedajo, da jim bomo s svojim znanjem svetovali in jih usmerjali. Zavedajo se pomembnosti našega poklica in dejavnosti. Ni dovolj, da sodelujemo zgolj kot izvajalci, temveč tudi ustvarjalno pripo­ moremo k izvedbi projekta. Tako lahko naša ekipa že med načrtovanjem dogodka svetuje, ali je določena ideja izvedljiva glede na teren ali proračun projekta. V nasprotnem primeru predlagamo alternativne rešitve s podobnimi učinki, ki se na koncu izkažejo za idealne. Skupaj z naročniki gradimo na za­ upa­nju, saj se zavedamo, da vsi soustvarjamo dogodek.

Martin Cvetko: Poudarek je tudi na stalnem kadru, ki je samoiniciativen, se spozna na tehnologijo dela in se z vsakim projektom nekaj novega nauči ter tako bogati svoje delovne izkušnje. Hkrati v svojo ekipo vabimo strokovnjake z drugih

power and work technologies. Still, the most important thing is fle­ xibility. You have to be able to offer advice to your clients, to successfully cooperate with them from stage one on.

Martin Cvetko: We help to create and expand the event they are organizing. Our clients trust us and always invite us to work with them from the very beginning, from the initial phase onwards, because they are well aware that we are going to help and direct them. They acknowledge the importance of our profession and activities. We are not only there to built the stage, but also to help develop the event in creative ways. We are therefore able to give advice on whether or how a certain idea can be realized according to the budget or different technicalities (for example the quality of the ground etc.), and, if needed, suggest alternative solutions to bring about similar effects, that usually turn out to be the best choice. We strive to instill trust and the awareness that our creative contribution is equally important.

Martin Cvetko: It is very important to keep the same, qualified employees and encourage them to work on their own initiative, so they will be enthused to learn from each and every project and

sorodnih področij. Pri bolj zahtevnih projektih se povežemo s podjetji, katerih proizvode uporabljamo. Znanja pridobivamo tudi s pomočjo tuje literature ter izobraževanj v tujini. Tako doma kot v tujini obiskujemo številne sejme, kjer pridobivamo nove informacije in znanja za delo na terenu. Zadnja leta je velik poudarek na 3D predstavitvi dogodka, ki jo pripravimo naročniku. S pomočjo skice in animacije dogodka se lahko za­­čnemo pogovarjati o pretoku ljudi ter predvidimo ovire in težave, ki se jim lahko izognemo. Ti programi zelo olajšajo sam postopek priprave dogodka in opažamo, da naročniki vedno bolje sprejemajo 3D simulacije dogodka.

Matej Cvetko: Oder conavi, ki sem ga razvil na podlagi iz­ku­ šenj, nam omogoča prilagodljivost pri gradnji na različnih te­re­nih in v različnih nivojih. Z izkušnjami in poznavanjem potreb strank, ki so narekovale vedno zahtevnejše projekte, sem skon­struiral različne variacije elementov, ki jih je bilo treba standardizirati. Produkt se je z leti izboljševal in nadgra­ jeval in sedaj imamo scenski oder, ki je enostaven za montažo ter omogoča fleksibilno gradnjo.

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Se vam zdi, da se naročniki zavedajo vaše odgovorno­ sti in zahtevnosti dela?

Martin Cvetko: Da, mislim, da vedno bolj. Do tega je prišlo tudi zaradi nekaterih preteklih dogodkov, ki so ljudi streznili.

Za naročnike je ključno predvsem to, da želijo delati s partner­ jem, ki ima urejeno ekipo in je odličen na svojem področju.

Danes se izgublja vloga posrednikov med naročniki in izva­ jalci. Poslovanje temelji na sodelovanju in poznavanju stroke in ne na prodaji. V Sloveniji večji projekti nastanejo tako, da se zberejo najboljše ekipe in najdejo ustrezne rešitve. Je pa res, da pri nas ta postopek teče drugače kot v tujini. Tam pod­ jetja delujejo kot multinacionalke, ki razpolagajo z večjimi kapacitetami v vseh pogledih. Zato je pri nas pomembno povezovanje s partnerji, biti moramo fleksibilni in imeti pošten odnos do dela in naročnikov.

Sodelovali ste tako pri velikih glasbenih projektih, kot so Bjelo Dugme tour, preselitev Ljubljanske opere in baleta na Gospodarsko razstavišče, koncerti Pink v Avstriji, Depeche mode in ob 15. obletnici Big foot Mame, ter pri športnih projektih, na primer Explosion of fun in Beach Master, kot tudi pri državnih dogod­ kih, med njimi Dan državnosti, Predsedovanje OVSE in Vstop Slovenije v EU. Kakšne vrste dogodkov najraje delate in kateri so za vas največji zalogaj?

Martin Cvetko: Najraje sodelujemo pri projektih, ki so novi in inovativni, zahtevajo nov scenski pristop in nam zato pred­ stavljajo največji izziv. Zelo zanimivo je sodelovati pri turne­ jah, ki so sicer naporne zaradi številnih birokratskih proto­ kolov in nenehnega potovanja, vendar pa so prav posebno doživetje, saj spoznaš veliko novih mest, ljudi, njihove na­ vade, kulinariko ter način življenja. Hkrati obiščeš destinacije, ki jih sicer verjetno ne bi. Po drugi strani pa med bolj zahtevne štejem državne prireditve, ki so vedno večplastni in zahtevni projekti. Navadno se zgodijo ob vrhuncih sezone, ko je naš urnik poln drugih dogodkov, zato je takrat treba poskrbeti za odlično logistiko, saj morajo biti delavci pravilno razporejeni, oprema ob pravem času na dogovorjenem mestu in podob­ no. V takih terminih so vodje projektov zelo obremenjeni in nosijo veliko odgovornost.

Kako ste pričeli sodelovanje s tujino? Kdaj se je zgodil vaš preboj?

Matej Cvetko: Naš prvi projekt v tujini je bil Ray Charles v Splitu leta 2000. To je bil naš pomemben pionirski dogodek, k sodelovanju nas je skupaj s Festivalom Novo Mesto povabil vodja splitskega jazz festivala.

thereby expand their working experience. At the same time, we always try to invite experts from other similar fields, or, in case of more complicated projects, contact companies whose products we are using for our work. We gather knowledge by reading ­foreign literature and send people abroad for training, as well as visit different fairs around Europe to gather information and experience. During the last few years, we have been trying to emphasize the importance of a 3D presentation that we prepare for the client. This means that we prepare a rough draft and an animation of the event, so we can then start to discuss the fluctuation of people and try to foresee possible obstacles or problems we then try to avoid. Such programs are highly helpful and make organizing an event much easier. Therefore our clients have shown a growing interest in these 3D event simulations.

Matej Cvetko: The conavi stage that I have developed on the basis of my experience helps us to build flexible constructions in different levels, in- and outdoors. On the basis of my experience and knowledge of various needs of the clients I have constructed a range of elements, which then needed to be standardized. As the years went by, this constructions further improved until it became what it is today; a complex stage which is easy to erect and allows flexible construction.

Do you think your clients are aware of your responsi­ bility and the demanding nature of your work?

Martin Cvetko: Yes, I think their awareness is growing. In the past, there have been some events that have helped further this awareness. The key issue for the clients is to get a partner with a good team and professional excellence. Today the role of negotiators between clients and professional workers is decreasing. Instead, their partnership, which is no longer based on sale, strives to achieve cooperation and expertise in the branch of business.

For all major events in Slovenia, the best teams from around the country come together and work cooperatively to find the best solutions. It is true though, that here the whole process is completely different than in other countries, where companies act as multinationals, and therefore dispose with more of everything. This is exactly why, in Slovenia, it is very important to establish good connections with business partners, and be fair and flexible.

Your projects include a range of events such as the Bijelo Dugme tour, the transportation of the Ljubljana Opera and Ballet to the Ljubljana Exhibition and Con­ vention Centre, Pink’s concert in Austria, Depeche Mode or the 15th anniversary of Big Foot Mama, not to forget some sport events, for example Explosion of fun and Beach Master, as well as different state events like the Slovenian Independence Day, Slovenian OSCE Chairmainshi and the country’s entering the EU. What would you say are your favorite events and which are the most challenging?

Martin Cvetko: We actually prefer new, innovative projects, which demand a new scenic approach, and are therefore also the most challenging. Tours are also very attractive. It takes a whole lot of bureaucracy and constant travelling, but you get to experience many new cities, people, different habits, lifestyles and even different cuisines. It takes you to destinations that would otherwise remain unknown. On the other hand, all state events are also always complicated, demanding projects. They usually happen at the peak of the season when we are completely snowed under, and therefore demand a perfect logistic, because we need to organize the workers, send equipment to the right spot at the right time etc. It leaves the project leaders with a huge responsibility and an equal amount of stress!

How did your breakthrough to the foreign markets hap­pen?

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Martin Cvetko: Skupaj s Festivalom Novo mesto in Areno music smo naredili ekipni preboj, sicer pa se sodelovanje s tujino ponavadi oblikuje na podlagi iskanja določenega produkta. Lani smo delali dogodek za francosko levičarsko mladino na podlagi priporočila slovenskega državljana, ki deluje v tej mednarodni organizaciji. Nekatera sodelovanja pa se zgodijo tudi v okviru tujih agencij, ki organizirajo pri­ reditve in delujejo v okviru multinacionalk ter najamejo ljudi za delo na določenem projektu.

Kakšni so vaši načrti za prihodnost?

Martin Cvetko: Radi bi naredili center, preko katerega bi se povezali s svojimi poslovnimi partnerji in kjer bi se generirala vsa znanja na enem mestu. Za to bi potrebovali zemljišča in finančno injekcijo s strani države. V takem projektu vidimo šte­ vilne prednosti, saj bi poleg ustvarjanja novih znanj prišlo tudi do lažje pridobitve kadrov in hitrejših odzivov. Mislim še, da bi bilo v dobro vseh nas, ki postavljamo začasne prireditvene ob­ jekte, da se povežemo v skupno interesno gospodarsko zdru­ ženje, kjer bi združeni reševali skupne probleme ter oblikovali norme in pravila tega posla.

Matej Cvetko: Želimo si tudi novih skladiščnih prostorov, kjer bi imeli pod eno streho vso opremo, od načrtovanja do same izvedbe, saj imamo trenutno to razpršeno po večih lokacijah in je zato nekoliko več dela z logistiko. Trenutno smo v fazi načrtovanja novih skladiščnih prostorov in širitvi obstoječih.

Matej Cvetko: Our first project outside Slovenia was the Ray Charles concert in Split, Croatia, in 2000. It was an important, pioneer event, and we were invited to do it, together with Festival Novo Mesto, by the director of the Split Jazz Festival.

Martin Cvetko: Our breakthrough was together with Festival Novo Mesto and Arena Music. Such breakthroughs normally start when organizers are searching for a special product. Last year, for example, we were invited to organize an event for French Leftwing Youth, because a Slovenian citizen working there recommended us. Some cooperation happens within the framework of foreign multinational agencies which hire people to work on special projects.

What are your plans for the future?

Martin Cvetko: We would like to start a center which would allow us to contact our foreign business partners and would serve to generate different skills in one place, for which we would need a piece of land and a financial injection from the state. Such a project would help not only to generate new skills, but also to facilitate hiring of staff and speeding up the response. I also think all companies working in this field would profit from establishing some form of a business association, where we could share our concerns, search solutions to common problems as well as define standards and regulations for the business.

Matej Cvetko: We would also like to have a new warehouse to store all equipment – from planning to realization, in one place. At the moment we store our equipment on different locations which makes logistic more complicated. We are currently searching for a new warehouse and planning to expand the existing ones.

Koncerti / Concerts

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Kid Rock, Avstrija Pink, Avstrija Air, Ljubljana DJ David Guetta, Avstrija Nightwish, Ljubljana Katie Melua, Ljubljana Julio Iglesias, Ljubljana Hladno pivo tour, Hrvaška Zucchero, Hrvaška, Ljubljana Iggy Pop, Ljubljana, Il Divo, Ljubljana, Bjelo Dugme tour, Hrvaška, Srbija, BiH Iron Maiden, Ljubljana, Ray Charles, Split Phil Collins, Hrvaška Joe Cocker, Ljubljana Deep Purple, Ljubljana Depeche Mode, Ljubljana veliki koncert na prostem skupine Siddharte, Ljubljana turneja skupine Siddharta ‘06, Slovenija 15. obletnica Big Foot Mame Bryan Adams, Ljubljana Eros Ramazzotti, Ljubljana Jan Plestenjak, Ljubljana David Copperfield, Ljubljana The Killers, Ljubljana Lepa Brena, Ljubljana Dream theater, Ljubljana Ceca, Ljubljana Dj Tiesto, Ljubljana Dj Ferry Corsten, Ljubljana Dj Armin van Buuren, Ljubljana Anastacia, Ljubljana koncerti slovenskih skupin

Festivali / Festivals Bruc 1998 - 2009, Ljubljana Festival nakupov BTC, Ljubljana Metalcamp, Tolmin Blues festival 2005, Postojna Le Soleil - festival gledališča, plesa in glasbe, Trebnje Rock otočec, Novo mesto Trnfest, Ljubljana Škofjeloški pasijon, Škofja loka Svetovni dan aidsa 1. december, Ljubljana Cvičkarija, Novo mesto in Ljubljana Mortadeljada, Ljubljana Žur z razlogom, Ljubljana Hmeljada, Ljubljana Urbanova noč, Ribnica Festival pomladi 2005, Ljubljana Festival Sanje, Ljubljana Teden mladih, Kranj Koncert Salonita Anhovo, Anhovo

Posebni dogodki / Special events Ecosy summer camp 2008, Carpentras, Francija Proseries World Championship Beach Volley Tour 2007 in 2008, Bolzano, Italija 100. obletnica Perutnine Ptuj 2005 proslava za praznik OF, 27. april 2006, Nanos Redbull soapbox 2006, Ljubljana DM tek za ženske 2006 - 2008, Ljubljana Nike cage 2006, Ljubljana Nato ministerial meetings 2006, Ljubljana otvoritev poslovnega centar Gorenje, Beograd Leave no trace by Nokia 2006, Ljubljana Poslovni dogodek banke Intesa, Beograd Otvoritev trgovskega centra Diamant v BTC, Ljubljana After party Viktorji 2006, 2007, Ljubljana maturantski plesi, Ljubljana, Koper The 50’s show, Ljubljana Delov Kresnik, Ljubljana 35 let radia Val 202, Ljubljana Radio Antena - Zapelji me s poljubom, Ljubljana Kazina – Poletje v školjki, Ljubljana Svetovno mladinsko prvenstvo v umetnostnem drsanju Ljubljana 2006, Ljubljana Dan vrnitve primorske k matični domovini, Cerje, Trnovo, Kobarid Grk Zorba, opera na prostem 2005, Maribor predstavitev biometričnih ključavnic podjetja Prosum, 2005, Monaco Dan Rudolfa Maistra, Ravne na Koroškem

www.prozvok.com

državna proslava ob priključitvi Prekmurja matičnemu narodu, Beltinci spominska slovesnost Teharje 2005, Teharje otvoritev predora Trojane 2005, Trojane otvoritev predora Šentvid, Ljubljana 13. zasedanje ministrskega sveta OVSE 2005, Ljubljana 55 let BTC, Ljubljana Dan državnosti, Ljubljana SKB Papi, Ljubljana Maraton Franja, Ljubljana Svetovni pokal v Biatlonu, Pokljuka 9. svetovni pokal v ritmični gimnastiki Ljubljana 2007, Ljubljana svetovni pokal v smučarskih skokih in poletih, Planica Zimske olimpijske igre mladih Bled 2003, Bled balet Zlatarne Celje, Ljubljana modna revija nakita Zlatarne Celje, Celje Pokal Slovenije v ritmični gimnastiki, Ljubljana Mednarodni turnir mladih v ritmični gimnastiki, Ljubljana Explosion of fun, Kranjska gora 500 let Primož Trubar, Raščica Mercatoriada, Bled, Velenje, Postojna novoletna zabava MOL, Ljubljana Novoletni dogodki v Ljubljani, Ljubljana Nike konvencije 2005 - 2009, Ljubljana DM tek ženske, Ljubljana 100 let filharmonije, Ljubljana Pokal Vitranc, Kranjska gora, vstop Slovenije v EU, Nova Gorica, vstop Slovenije v Schengen, Škofije opera Nabucco, Križanke, Ljubljana Opera in balet na gospodarskem razstavišču, Ljubljana otvoritev prodajnega salona Toyota, Ljubljana Diners club Slovenija, Ljubljana Streetball, Ljubljana Beachmaster, Ptuj Marcedes trophy 2007, Bled Marcedes trophy 2008, Volčji potok postavitev sejemskega prostora Impol, Essen, Nemčija postavitev sejemskega prostora za Slovenska naravna zdravilišča na Tip 2008, Ljubljana Postavitev velikega portala za Audi na Internautici v Portorožu Auto motor show Ljubljana, Ljubljana Sejem erotike 2008, Celje modna revija Modne Jane 2005, 2006, Ljubljana Miss Universe Slovenije 2006, Ljubljana Miss Slovenije za miss sveta 2007, Gospodarsko razstavišče, Ljubljana musical Kekec, Ljubljana razni dogodki podjetij: novoletne zabave, svečani do­ godki, otvoritve in podobno

63 Prozvok

Mesto mladih, Nova Gorica Festival Carniola, Kranj Zbiljska noč, Zbilje Noč na Vrhniki, Vrhnika Noč radia Belvi 06,07,08, Kranj Ritem mladosti, Ljubljana Zmaj ma mlade, Postojna Škisova tržnica 1998 - 2009, Ljubljana Druga godba, Ljubljana Majske igre 1999 - 2009, Ljubljana Kranfest, Kranj Noč v stari Ljubljani, Ljubljana Njoki festival 09, Ajdovščina Maturantska parada, Ljubljana Meet me, Divača Vesolje veselja, Ljubljana Lunin festival, Ljubljana Disconautica, Koper Woodshock, Ljubljana Kamfest, Kamnik Ana desetnica, Ljubljana Festival Lent, Maribor Festival piva in cvetja 06, Laško Bikers Weekend, Petišovci Slovenska popevka, Ljubljana Ema, Gospodarsko razstavišče, Ljubljana

www.3d.scenografija.si

3D vizualizacije dogodkov in prireditvenih prostorov

www.3d.scenografija.si

Prireditve in sejmi EVENTS & FAIRS

Čas je uspešnim podjetjem v sodobnem svetu vedno bolj skopo odmerjen, zato se je treba ob načrtovanju promocijskih dogodkov, pa naj gre za sejme ali lastne dogodke, obrniti na strokovnjake. Ti nam lahko kakovostno svetujejo, kako naj naš dogodek poteka, in prireditev ali sejemsko postavitev tudi v celoti pripravijo in izpeljejo.

In the modern world, successful companies are always short of time, therefore they have to turn to experts when it comes to the planning of promotion events – fairs or other events. They can advise us how to plan an event and they can even fully prepare and carry out the event.

Prireditve in sejmi / Events & Fairs

66

Podjetje GR Inženiring je bilo ustanovljeno leta 1994 in se danes ukvarja s postavitvijo in opremljanjem razstavnih prostorov na sejmih ter z organizacijo prireditev po vsem svetu. 25 stro­ kovnjakov z različnih področij bo poskrbelo, da bo vaš dogodek zablestel, predvsem na račun obilice izkušenj, ki so jih pridobili s postavljanjem razstavnih prostorov in konstrukcij na sejem­ skih, izobraževalno-sejemskih, družabnih in drugih prireditvah doma in v tujini. Reference in izkušnje naročnikov zagotavljajo, da bo projekt, ki jim ga boste zaupali, kakovostno izveden. Poleg svetovanja in postavitve vam lahko zagotovijo tudi kakovostno opremo za sejme, kongrese, konference, prireditve, seminarje, tekmovanja, novoletne zabave in druga družabna srečanja: 4.000 konferenčnih stolov, 900 miz, 10.000 kvadratnih metrov talne obloge Heuga in garderoba za 3.000 kosov oblačil. Nudijo tudi možnost izposoje hladilnikov, hladilnih omar in vitrin, mini kuhinj, avdio-video opreme in drugih elementov.

Founded in 1994, the company GR Inženiring provides event organization and the installation and equipment of exhibition stands at fairs all over the world. Thanks to the experience gained in the installation of exhibition stands and constructions at fairs, educational fairs, social and other events at home and abroad, 25 experts in various fields will ensure the success of your event. References and experience guarantee that the entrusted project will be carried out professionally. Other than consultancy and installation, they can provide quality equipment for fairs, congresses, conferences, events, seminars, competitions, New Year’s Eve parties and other social events: 4,000 conference chairs, 900 tables, 10,000 m2 of Heuga floor coverings and a wardrobe set up for storing 3,000 items of clothing.

Furthermore, they offer the rental of refrigerators, refrigerated cupboards and showcases, kitchenettes, audio-video equipment and other elements.

Od zasnove do izvedbe Organizacija prireditev je odlična marketinška poteza, ki je stro­ š­kov­no ugodna, obenem pa se lahko nadejamo velikega odziva nanjo. Smiselno je, da jo zaupamo ekipi izkušenih strokovnjakov na področju organizacije prireditev, ki bodo pripravili popoln do­ godek, ki bo še dolgo odmeval v javnosti. Zaposleni lahko brez skrbi opravljajo vsakodnevno delo, GR Inženiring pa bo opravil celoten postopek organizacije dogodka, od idejne zasnove do izvedbe. S tem boste prihranili čas, razbremenjeni boste nepo­ trebnih skrbi in kar je najpomembneje, ekipa strokovnjakov bo poskrbela, da bodo vaše želje in potrebe zadovoljene.

Pri organizaciji prireditev naročniku svetujejo in zagotovijo pros­ tor oziroma lokacijo, program prireditve, nastopajoče v programu, privlačno postavitev in opremljenost prizorišča, poskrbijo za pro­ tokolarne zadeve, gostinsko ponudbo, varovanje in druge za uspešno izvedbo prireditve pomembne elemente organizacije.

From the Outline to the Realization The organization of an event is a perfect marketing move that is cost-effective but attracts maximum response. It is appropriate to trust a team of experienced experts in organizing a perfect event that will have an echo in public. Your employees can do their everyday work while GR Inženiring will take care of every detail in the organization of your event – everything from the outline to the realization. Thus, you will save time, unnecessary worries and above all, the team of experts will ensure that your wishes and needs will be satisfied. When organizing an event, they advise the client and provide for the place or location for the event, the performers, attractive placing and installation on the site, manage the protocol, catering, security and other elements of organization that are important for a successful realization of the event.

Lastne prireditve kažejo na dobre storitve GR Inženiring je na slovenski trg lansiral nekatere izjemno uspešne in vsebinsko bogate prireditve, namenjene tako splošni kot tudi strokovni javnosti. Več o prireditvah si pre­ berite na spletnih straneh:

The First Contact Is the Most Important GR Inženiring is Slovenia’s leading company in the field of fair constructions and exhibition stands and a number of testimonials and approbation from clients testify this. Throughout the years of activity, collaborations on several home and foreign fairs, a number of projects with different clients, and their correlative analysis and research they came to the conclusion that the first contact with the exhibition space is the most important. The visitors, competitors, and other exhibitors have to be amazed at the fairgrounds with a creative and thoughtful fair construction. To be noticeable and to stand out from the average, monotonous and visitor-unfriendly exhibition spaces are the competitive advantages that achieve great response and effect. At the setting up of fair constructions, GR Inženiring takes care of the whole fair organization which includes consulting on the image of your exhibition space, consulting on the material choice, on additional equipment and its arrangement in the exhibition space, the provision of required graphic elements, the cleaning of exhibition space during the setting up, the event and the dismantlement, transportation, and other individual needs.

Own Events Are the Proof of Good Service GR Inženiring launched some extremely successful and contentinteresting events on the Slovenian market intended for the gene­ ral and expert public. More about the events can be found on their websites:

Prireditev / Event

Lokacija / Place

Spletna stran / Web

Informativa Logistika Mednarodni sejem zbirateljstva Collecta Transport in logistika, Dnevi prevoznikov Auto Motor Show Otroški bazar Študentska arena Proizvodna logistika Kariera Mednarodni sejem nepremičnin in investicij

Gospodarsko razstavišče, Ljubljana Fakulteta za logistiko, Celje Gospodarsko razstavišče, Ljubljana Logistični center BTC, Ljubljana Gospodarsko razstavišče, Ljubljana Gospodarsko razstavišče, Ljubljana Gospodarsko razstavišče, Ljubljana Planet TUŠ, Novo mesto

Gospodarsko razstavišče, Ljubljana Gospodarsko razstavišče, Ljubljana

www.informativa.si www.logistika-slo.si www.collecta.si www.logistika-slo.si www.automotorshow.si www.otroskibazar.si www.dobimo.se www.logistika-slo.si www.kariernisejem.com www.proprio.si

www.gr-inzeniring.si

67 Prireditve in sejmi / Events & Fairs

Prvi stik je ključen GR Inženiring je vodilno slovensko podjetje na področju pos­ tavljanja sejemskih konstrukcij in razstavnih prostorov, o čemer pričajo številne reference in pohvale naročnikov. Skozi leta de­ lovanja, sodelovanja na mnogih domačih in tujih sejmih ter prek številnih projektov z različnimi naročniki in s tem povezanimi analizami in raziskavami so prišli do zaključka, da je prvi stik s se­ jemskim prostorom najpomembnejši. Obiskovalce, konkurente in druge razstavljavce na sejmu je treba z ustvarjalno in domisel­ no postavitvijo razstavnega prostora presenetiti. Opaznost in izstopanje iz sivega povprečja dolgočasnih in za obiskovalce neprijaznih razstavnih prostorov predstavlja konkurenčno pred­ nost, ki prinaša velik odziv in učinek naše sejemske predstavitve.

Pri postavitvi razstavnih prostorov vseh vrst v GR Inženiringu poskrbijo za celostni sejemski inženiring, ki vključuje svetovan­ je glede vizualnosti razstavnega prostora, izris razstavnega prostora, svetovanje pri izbiri sejemskih materialov in naboru dodatne opreme, in ureditvi razstavnega prostora. Poleg tega zagotovijo potrebne grafične elemente, pleskarska dela, scen­ sko postavitev, čiščenje razstavnega prostora v času montaže, prireditve in demontaže, ter uredijo prevoz in druge, od pri­ mera do primera različne potrebe.

R E : F O R M AT k re a t i v n a pi s a r n a w w w. re f o r m a t . s i -

graficno oblikovanje internet video produkcija fotografija ilus tracija

The Killers v Sloveniji The Killers in Slovenia Besedilo/TextUla Spindler, pomočnica direktorja in vodja oddelka za organizacijo dogodkov/ Assistant Manager and Event Organization Manager, Anja Rebek, starejša svetovalka/Senior Counselor, Pristop

Za slovensko tržišče je bila organizacija velikega koncerta na prostem skupine, kot so The Killers, nuja. Potrebno je bilo preseči urok ter negativne energije, ki so se nabirale okoli velikih koncertnih imen, ter začeti graditi ugled male podalpske deželice kot profesionalne in zmožne izvedbe večplastnih koncertov.

69 SLO scena / Slovenian Scene

The organization of a large outdoor concert with a band like The Killers was a necessity for the Slovenian market. The negative feeling surrounding large concert bands and their avoidance or cancellation of concerts in Slovenia had to be overcome; while an image of Slovenia as a small sub-alpine country with the capability to organize professional and complex concerts needed to be established.

Z uspešno izvedbo se je Sloveniji uspelo zasidrati na svetovni glasbeni zemljevid in z vsakim uspešnim projektom bo izvedba še lažja. Tudi javnosti in glasbenim navdušencem smo pokazali, da z združenimi močmi to zmoremo in smo tako povrnili zau­ panje v slovenske organizatorje koncertov.

Koncert kot marketinško orodje Koncert skupine The Killers je bil v kampanjo ITAK kot osred­ nje komunikacijsko orodje postavljen z namenom. Ni šlo za koncert skupine, ki bi ga koncertne poslovalnice ponujale tržišču, ampak je bil vrstni red organizacije ravno obraten.

Najprej smo domislili skupino, nismo pa izbrali tudi alterna­

The successful organization of the concert has helped Slovenia to anchor itself on the map of world music venues; each successful project helps to build a confidence in the arrangement of future events. The general public and music enthusiasts alike have been shown that through working together we can succeed; through all of the hard work the credibility that as a nation we can organize large scale concerts has been restored.

Concert as a Marketing Tool Placing the Killers concert as the central communication tool into ITAK’s mobile phone services campaign had a purpose, and a section of the campaign’s budget was allocated to funding the mu-

tive in smo skupino torej morali rezervirati, zato je bil pogajal­ ski proces še toliko težji. Del proračuna kampanje smo name­ nili organizaciji koncerta in tako obstoječim in potencialnim naročnikom paketa ITAK omogočili svojevrstno izkustvo. Ker pa tako velikega koncerta nismo želeli hermetično zapreti, smo vsem glasbenim navdušencem ponudili tudi možnost nakupa vstopnic po znižani ceni.

Izzivi Po potrditvi projekta smo se tako soočili z dvema ogromnima izzivoma izvedbe takšnega projekta na slovenskem tržišču.

Najprej smo morali rezervirati skupino, česar smo se znotraj agencije Pristop lotili popolnoma sami. Sprva je bil to velik izziv, saj velikim glasbenim skupinam zaradi majhnosti tržišča v Slo­ veniji ni zanimivo nastopati, poleg tega pa je Slovenija zaradi mnogih odpadlih koncertov v nemilosti svetovnih koncertnih poslovalnic in skupin. Po njihovem mnenju namreč nimamo dovolj referenčnih projektov in kot organizator ne vzbujamo zaupanja. Naslednji izziv je bila lokacija. Hipodrom Stožice je s stališča velikosti ena izmed najprimernejših lokacij v prestolnici, je pa infrastrukturno še neraziskana in zahteva ogromno prilago­ ditev. Poleg tega je bilo potrebno upoštevati tudi dva scenarija: koncert v lepem ali slabem vremenu, saj je pri organizaciji do­ godkov to skorajda edini del, na katerega nimamo vpliva.

SLO scena / Slovenian Scene

70

Slovenski projekt Scenografija z odrom, zvok, osvetlitev, projekcije in kamere so hardware, osrčje projekta in del, ki koncertno vsebino prenese do ciljnih skupin. Gre za del projekta, ki je pogoj za brezhibno izvedbo odrskega nastopa. Na koncertu skupine The Killers smo zadevo zavestno izvedli zgolj s predstavniki lokalnega okolja, kar je samo po sebi presežek. Že na začetku smo vedeli, da s skupnimi močni zmoremo izpeljati popolnoma slovenski projekt. Posebno pozornost pri takšnem projektu je potrebno posvetiti tudi izbiri ekipe, ki ustvarja projekt. Gre za skrbno de­ litev nalog po vnaprej postavljenem poteku del. Če kateri koli člen pri izvedbi zataji, se lahko poruši celoten projekt.

sic concert. Through the funding of the concert ITAK could offer a unique experience to both its customers and potential customers.

This was not a concert that the booking agents would provide on the market. The organization of the concert was done somewhat in reverse to usual, first of all, the band the Killers were decided upon as the headlining act. Having chosen no alternative band to headline the concert there was no choice but to find a way of booking them, and this made the negotiations somewhat complex. It was important to avoid excluding the general public and music enthusiasts from the concert, subsidized tickets were therefore made available for purchase.

Challenges Following the project’s confirmation, we faced the enormous challenge of organizing such a large scale concert . The largest challenge that was presented to our agency ‘Pristop’ was to book the Killers for the concert. Booking such a band as the Killers was no easy feat, in general, global music bands have no interest in performing in Slovenia due to its small music market and its reputation amongst booking agents. They perceive us as a country that does not have enough reference projects to convey our ability as a large scale concert organizer, this has sadly been reinforced by the cancelled concerts of the past. Once the Killers were successfully booked for the concert, the next challenge was identifying an appropriate location for the concert. Due to its size, Hipodrom Stožice was considered one of the most appropriate locations in Ljubljana, although this venue was not without its own issues: its infrastructure capacities as a concert venue hadn’t been explored, and it also demanded a great deal of adjustments to become an appropriate venue. Almost the only variable we can not control while organizing a concert is the weather, would it be good or bad? Appropriate scenarios or resources were therefore put in place.

A Slovenian Project The flawless and appropriate use of the scenography incorporating staging, sound, lighting, live visual recordings and projections would form the hardware and heart of the event and help communicate the concert’s theme to the target audience. While organi­zing the concert we made a conscious effort to use only people from the local community, and in doing so special attention needed to be given to selecting the appropriate team to create such a large pro­ ject. We were aware from the very start that by using joint effort we were capable of organizing a completely Slovenian project.

The project needed a clear, thorough and detailed course of action that could then be carefully delegated. In an event as big as ours if any link in the organizational chain fails, there is a risk the whole project may be destroyed.

Proslave ob državnih praznikih Ceremonies for National Holidays Besedilo/TextAleksej Adrijan Loos, vodja Službe za državne proslave, Ministrstvo za kulturo/National Commemorative Events Office, Head of Office, Ministry of Culture

Posebnost mladih držav, kot je naša, je v tem, da je veliko nosilcev pomembnih dogodkov ali njihovih bližnjih še med nami, in s praznovanjem se jim lahko oddolžimo za njihov prispevek. Proslave pomagajo ohranjati zgodovinski spomin, s tem pa tudi dvigujejo domoljubje, narodno pripadnost in ponos.

Vedno si želimo državno proslavo, ki bi bila všeč čim širšemu krogu gledalcev, ob tem pa naj bi obdržala kakovostno ra­ ven, pokazala umetniški presežek ali novost. Program se mora nanašati na dogodke, ki se jih spominjamo. Posebno draž, seveda pa tudi težavnost, dodaja državnim prosla­ vam to, da so ponavadi v neposrednem radijskem in tele­ vizijskem prenosu.

It is our wish to always hold national ceremonies pleasing to a broad circle of the population. These ceremonies will be organized to a high quality and standard in the aim of providing a novel or an outstanding cultural event. The ceremonies should always hold relevance to the events we are seeking to remember. The use of live television and radio broadcasting brings to these national ceremonies a special enticement that far outweighs any organizational difficulties.

Proslave v stiku z lokalnim okoljem Priprava proslave se začne več mesecev prej, organizacijsko najzahtevnejša pa je dan državnosti. Posebej zanimive so pro­ slave na prostem, saj nanje lahko povabimo tudi širše občinstvo, so pa zahtevnejše in dražje, saj je potrebno prizorišče pravza­ prav zgraditi, zaradi narave pa so tudi bolj tvegane. Nekatere proslave so se v zadnjih letih selile po Sloveniji, tako da se skušamo za sodelovanje dogovoriti z umetniki z območja, na katerem proslava gostuje. Tudi tako skušamo proslave vklopiti v okolje.

National Ceremony Related to Location The planning and organization of a ceremony starts months in advance of the actual event, and of the many events that we organize the ‘National Day’ is the most demanding. Open air ceremonies are particularly interesting, as a large audience has the opportunity to attend the event. An outdoor event by its nature is more hazardous, demanding and expensive to arrange. Over the last few years some ceremonies have been moving around Slovenia, and while planning these events we have sought the cooperation of local artists to help us to incorporate these ceremonies into the community.

Proslav bo manj Državnih proslav in proslav državnega pomena je bilo v zad­ njem obdobju med 8 in 11 na leto, v letošnjem letu pa bo število nekoliko manjše. Ne gre zgolj za varčevanje, ampak predvsem za vzpostavitev dolgoročnejše sistemizacije državnih proslav.

Vlada se prilagaja recesijskim časom in skuša pri proslavah pos­ topati čimbolj racionalno. Varčujemo na različnih nivojih, a ne pri zamislih in kakovosti. Proslave v Sloveniji sicer ne stanejo toliko, kot si verjetno marsikdo misli. Zanimiv je podatek, da bodo vse državne proslave v letu 2009 vsakega državljana stale približno 0,40 evra.

Less Ceremonies Over the last years there have been between 8 to 11 national ceremonies or ceremonies of national importance. This year the number of ceremonies will be reduced, not only for budgeting reasons but predominantly to establish a long-term organizational scheme of national ceremonies. The government is currently adjusting to the recession and is trying to handle the ceremonies in the most rational way possible. We’re making savings at different levels, but not sacrificing on ideas and quality. The cost of arranging national ceremonies in Slovenia doesn’t cost as much as many people might think. An interesting fact to note is that the cost of all the national ceremonies in 2009 will be approximately 0,40 EUR per citizen.

Ob polnoletnosti države Ustvarjalca mag. Matej Filipčič (scenarij, režija in scenografija) in Rok Golob (glasba) sta program slovesnosti ob 18-letnici slovenske državnosti zasnovala kot simbolni ciklus odraščanja in intimnih zgodb posameznih generacij. Končal se je s poose­ bljanjem države, ki s polnoletnostjo vstopa v obdobje odraslos­

Our Country Reaching the Age of Maturity Matej Filipič MA (script, directing and scenography) and Rok Golob (music) were responsible for devising the ceremony program for the 18th anniversary of the Slovenian state. They created a symbolic cycle of growing up and incorporated intimate stories

71 SLO scena / Slovenian Scene

A special feature found in young countries such as ours is that many key people, who were involved in events of national importance, and their close relatives are still among us.

Ceremonies and public celebrations not only express our gratitude for their contributions, but help us to keep in our memories historical events, and they also raise the level of our patriotism, national affiliation and pride.

ti. Glasbeni del je bil sestavljen iz večinoma ljudskih pesmi, ki so se skozi proslavo s pomočjo aranžmajev vse bolj posodabljale v današnji glasbeni slog. Izvajalci so ob spremstvu Simfoničnega orkestra Slovenske filharmonije pod vodstvom dirigenta Uroša Lajovca predstavili zanimiv in nevsakdanji spoj žanrsko zelo pestrih in še ne videnih duetov.

Goristajenje 1919-2009 Umetniški program proslave ob 90. obletnici združitve prek­ murskih Slovencev z matičnim narodom »Goristajenje 1919 – 2009«, ki sta ga zasnovala scenarist Feri Lainšček in režiser Igor Zupe, je svojo vsebino zajemal iz ustvarjalnega opusa glasbe­ nika in pesnika Vlada Kreslina, enega izmed najvidnejših prek­ murskih ustvarjalcev, ki na svojevrsten način združuje ljudsko motiviko z izvirnim in sodobnim avtorskim izrazom. Genius loci je v Kreslinovih delih izrazito prepoznaven, njegov opus pa se postopoma zaokroža v umetniško prepričljivo pričevanje o življenju v tej naši panonski pokrajini.

SLO scena / Slovenian Scene

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of individual generations. The ceremony ended with the personification of our country reaching the age of maturity and entering the period of adulthood. The musical element of the piece utilized folk songs and through the progression of the piece the songs gradually evolved into the more contemporary sound of today’s music. The performers, accompanied by the Slovenian Philharmonic Orchestra and conducted by Uroš Lajovec, presented an interesting, unconventional harmony of various genres and utilized duets that had not previously been seen.

Goristajenje 1919-2009 “Goristajenje 1919-2009”, the cultural program at the ceremony celebrating the 90th anniversary of Prekmurje Slovenes Reintegration Day, was devised by Feri Lainšček, a scriptwriter, and Igor Zupe, a director. The piece drew its content from the artistic works of Vlado Kreslin, a musician and a singer. Vlado Kreslin is one of the most outstanding artists of Prekmurje and joins folk motifs with original and contemporary expression in a very unique and innovative way. Genius loci is distinctly recognizable through Kreslin’s work, and his works gradually convey an artistically convin­ cing testimony of life in the Panonian region.

Turnir v odbojki na mivki Nestea BeachMaster Nestea BeachMaster Besedilo/TextJure Jeraj, Foto/PhotoŠpela Bokal

V poletnih mesecih leta 2009 se je z vrsto turnirjev Slovenian BeachTour v začetku junija začela sezona odbojke na mivki. Osrednji dogodek, turnir Nestea BeachMaster, je potekal od 15. do 18. julija ob Ptujskem jezeru.

At the beggining of July 2009 the Slovenian beach volleyball season started with the BeachTour series of tournaments. The central event of this series of tounaments was the Nestea BeachMasters, which was held from 15th to 18th July at the Ptuj Lake.

Serija turnirjev Slovenian BeachTour 2009 v odbojki na mivki je kot nadgradnja že uveljavljenih in prepoznavnih tekmovanj 1. razreda preteklih sezon potekala na različnih krajih po vsej državi. Glavni cilj BeachTour-a in BeachMasterja je bil korenit poseg v organizacijo turnirjev in slovensko odbojko na mivki.

The Slovenian BeachTour series of tournaments is a well established and recognized first-class beach volleyball competition. The 2009 BeachTour series was upgraded and held at various different locations across Slovenia. The main goal of the upgraded BeachTour and BeachMaster series was to radically change the organization of Slovenian beach volleyball tournaments.

Turnir presežkov BeachMaster, največji mednarodni turnir v odbojki na mivki pri nas, je najuglednejši turnir z mednarodno igralsko zasedbo.

Tekmovanje se je odvijalo od kvalifikacijske srede do sobote, ko so bili na vrsti finalni dvoboji s TV prenosom. Turnirju je sledila zabava za mlade, BeachParty, z nastopi DJ-ev ter s koncertom skupine Šank Rock in 6 Pack Čukurja. Neuradno, sproščeno druženje gostov iz sveta gospodarstva, športa in zabave je po­ tekalo v prostorih BeachVIP. Celotno prireditev je obiskalo preko 5.000 ljudi, na finalih pa se je kljub dežju zbralo okoli 1.000 obiskovalcev. V času dogodka se je ob Ptujskem jezeru zbralo 55 akreditiranih novinarjev in foto­ grafov, ki so pripravili 139 objav. Rekordna je bila tudi velikost prizorišča in postavitev za odbojkarski dogodek v Sloveniji, saj se je dogajanje odvijalo na 10.000 kvadratnih metrih, na igrišča so nasuli 370 ton mivke, postavili so 50 ton železnih in aluminijastih konstrukcij, dogodek pa je osvetljevalo 30 žarometov.

Tournament of Superlatives BeachMaster is the greatest and most prestigious international beach volleyball tournament with teams from all over the world participating. It took place from Wednesday to Saturday with the finals broadcasted on TV. The tournament was followed by a youth BeachParty with varios DJ performances as well as a concert by Šank Rock and 6 Pack Čukur. A separate BeachVIP area was set up for informal and relaxed socializing for guests from the world of economy, sports and entertainment.

Over 5,000 people visited the four day event, and despite the rain there were about 1,000 visitors at the finals. During the tournament there were 55 journalists gathered at the Ptuj Lake, who produced 139 news. The venue specifically constructed for the event also broke all the Slovenian volleyball records. The event took place in an area of 10,000 square metres with 370 tons of sand used to fill the volleyball field; 50 tons of iron and aluminium was also used to construct the set, while the event was illuminated by 30 spotlights.

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Besedilo/TextZoja Bevc, Foto/PhotoBoštjan Matko3D vizualizacija/3D visualizationRok Kozin

Dogodek kot iluzija, pobeg iz resničnosti, doživetje. Prevzeti, pustiti vtis in biti edinstven.

Vse to se vrti v glavah organizatorjev in naročnikov. Adrenalin, ki je povezan s časovno tempirano bombo kratkega roka priprave in izvedbe, prostorskih, tehničnih in na koncu vedno odločilnih finančnih omejitev, požene k ustvarjanju. Ustvarjanju novega prostora, atmosfere, ki pooseblja zasnovo celotnega dogodka. Scenografija je preoblačenje prostora oziroma poigravanje z mislijo o obleki dogodka.

Scenografija / Scenography

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Bleščeča preoble

SCENOGRAFIJA BRILLIANTLY DRESSING THE EVENT Scenografija dogodkov je oblikovanje prostora točno določene zgodbe. Je preplet prostora, časa, gibanja in svetlobe na odru in s tem osnovni gradbeni element dogodka, ki mu omogoča večplastnost. Scenografijo bi lahko primerjali z modo v oblačenju, ki prinaša nove oblike, materiale in barve, vnaša tehnološke novosti in tako dalje. V osnovi pa je dogodek še ve­ dno sestavljen iz več prvotnih elementov, ki jih kombiniramo na tisoč in en način, enkrat bolj, drugič manj uspešno.

Za kakovostno scenografijo je tako kot pri vseh drugih strokah ključno poznavanje osnov. In osnovo predstavlja obvlado­ vanje osnovnih zakonitosti, občutek za merilo in razmerja ter specifika atmosfere, svetlobe in odra. Odlično poznavanje vseh tehničnih elementov in predvsem njihovega delovanja pa je tisto, kar nam odpira nešteto kombinacij in rešitev.

Scenography of an event gives form to the location of a particular story. It intertwines space, time, movement and light on the stage, and thereby becomes the essential constructive element of an event, offering different possibilities of perception. It could be compared to clothing fashion which incessantly brings new shapes, materials, colors and even technological innovations. Still, the event remains a composition of many basic elements more or less successfully combined in a million possible ways.

As any other field of business, a good scenograpy presupposes a good knowledge of basics, such as mastering the basic principles, feeling for scale and proportion, as well as the intricate specifics of atmosphere, light and stage. Sufficient knowledge of all the technical elements and their function opens the door to an infinite number of different combinations and solutions.

Veličastnost in funkcionalnost Ustvarjanje nečesa novega, drugačnega ali še nikoli videnega je pogojeno s poznavanjem že narejenega. Scenograf mora slediti novostim na področju arhitekture, likovne umetnosti in zabavne tehnologije, a najpomembneje je spretno kom­ biniranje obstoječih, že uporabljenih elementov z novimi, saj le tako kombinacija deluje sveže in inovativno. Kakovostna

Magnificence and Functionalism To be able to create something new, different or unseen one has to have a good knowledge of the basic elements. A scenographer has to keep track of all the innovations in architecture, fine arts and electronics, but most importantly, has to be very proficient in combining the already existing elements with the new ones, creating a fresh, innovative sight. High quality scenography

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Event as an illusion, an escape from reality, an adventure, aiming to take over, to leave an impression, to be unique. All of this echoes in the minds of the organizers and their clients. Sheer adrenalin streaming from the deadline pressure, limitations of space, time, and, finally, budget gives the impetus to create. Created are a new space and a new atmosphere which, together, personalize the concept of the entire event. Scenography means changing the dress of the event, playing with the thought of dressing the scene.

AFIJA scenografija mora biti dinamična in obiskovalcu ponujati celo pa­leto občutkov. Tako mora biti, na primer, že vstop v prizorišče dogodka premišljen in skrbno izbran, primerljiv z veličastnostjo dostopa do velikih arhitektur, ki se odpirajo postopoma in opa­ zovalca počasi prevzemajo. Obenem mora biti scenografija funkcionalna in predvideti vse premike programskih izvajalcev in obiskovalcev. Funkcionirati mora, ko je prostor prazen in tudi potem, ko se napolni s pričakovanja polnimi obiskovalci. Sce­ nografija mora obstoječi prostor prepletati z imaginarnim in ponuditi presežek doživetja.

Drugačen pogled na sceno ustvari drugačen dogodek Načrtovanje scenografije je predvsem ustvarjalni akt, pri ka­ terem je zelo pomembna selektivnost idej. Kadar imamo za načrtovanje na voljo dovolj časa, je več idej, ki počasi kalijo in se razvijajo. Načrtovanje na kratki rok pa zahteva hitro iskanje najboljše rešitve in njeno uresničitev. A vendar se ne smemo ozirati zgolj na kakovost ideje, temveč se je treba vprašati, ali je določena ideja uresničljiva v okviru danih finančnih sred­ stev. Težave nastopijo, ko je sredstev (pre)malo. Kako torej z majhnim vložkom ustvariti videz milijonarja? Za ustvarjanje edinstvene atmosfere je nujno razmigavanje malih sivih celic.

has to be dynamic enough to awaken in the spectator a range of emotions. The entrance to the scene itself has to be well chosen and carefully arranged, similar to the magnificence of great historical architectural achievements, which slowly open up to reveal an ever greater sight. At the same time, the functionalism of the scene is of an equal importance. For an empty place to be able to maintain its functional value even when it gets crow­ ded with a mass of people, full of expectations, all movements of the performers as well as of the audience have to be carefully planned. The main aim of scenography is to infuse the imaginary into the existing location to create a possibility of a transcendent experience.

A Change of Perspective Creates a Change of Experience Setting the scene is a highly creative act which rests on the selectivity of ideas. When there is enough time to plan, ideas slowly sprout and flourish, but a lack of time forces us to quickly find the best solutions and their realizations. Nonetheless, the quality of an idea should not be the only factor, as the existing budget should also be taken into consideration. If the budget is (too) small, there will certainly be a problem. How then can we turn

Scenografija / Scenography

eka dogodka

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Sodobni scenograf naročniku dogodek vizualizira v prilagodljivem 3D okolju.

Contemporary designer creates a flexible 3D visual environment for the customer.

Scenografija / Scenography

76 Vsa skrivnost se skriva v spretnosti kombiniranja, ustvarjalnosti in inovativnem pristopu do osnovnih elementov, kot so oder, konstrukcija, luči, dekorativni materiali in projekcije. V iskanju nove kompozicije se moramo odločiti za drugačno uporabo teh elementov in se izogibati rešitvam, ki jih sami po sebi ponu­ jajo. S tem ustvarimo novo identiteto prostora in scenografija ponudi presežek, saj preraste svojo zgolj dekorativno funkcijo.

Ustvarjanje prostora Scenografijo dogodka lahko razdelimo na aktivni in neak­ tivni del. Pod neaktivni del spada vse, kar je statično in nima možnosti velikih sprememb med potekom dogodka. Oder s kulisami, druga oprema prostora ter dekoracija naredijo prvi vtis in hkrati opredelijo ambient. Ta oprema prostor polni in mu da vsebino. Žal pa je ta del opreme navadno postavljen fiksno in bi brez aktivnega dela za obiskovalce kaj kmalu pos­ tal precej dolgočasen.

Aktivna oprema je vse, kar nam med dogodkom omogoča ust­ varjati spremembe v vzdušju in celotnem razpoloženju. Z lučnim šovom imamo tako možnost popolnoma spremeniti barvo pro­ stora, ustvarjati večjo ali manjšo intimo, prehajati iz temnega v svetlo in s hitrimi spremembami tudi šokirati. Osnovnemu lučnemu šovu lahko dodamo posebne učinke, kot so laserji, odrska megla ali pirotehnika, kar dogodek naredi dinamičen in privlačen. V aktivni del dogodka štejemo tudi ozvočenje in video projekcijo. Prav video projekcija je eden izmed bolj zanimivih in uporabnih scenografskih elementov, saj lahko iz malega naredi­ mo resnično veliko. Če imamo na voljo praktično prazen prostor in dovolj veliko površino za projiciranje, lahko zgolj s pomočjo projektorja in različnih projekcijskih slik ambient prostora v nekaj sekundah popolnoma spremenimo.

Aktivni del (luči, ozvočenje in projekcije) mora biti seveda natančno sprogramiran v povezavi s scenosledom dogodka, omogočati pa mora tudi reagiranje na spremembe na odru.

Ne glede na to, koliko tehnične opreme količinsko uporabimo za aktivni del, je ključen človeški faktor. Brez odličnega tehnika namreč programiranje aktivnega dela ne bo služilo namenu dogodka, slabo programiranje pa vpliva na živahnost in di­na­ miko scenografije in lahko doseže celo nasprotni učinek ter dogodku škoduje.

a modest sum of money into a rich impression? Well, we need to force into action our little grey cells. The secret lies in authentic combinations, creative and innovative handling of the basic elements, such as the stage, constructions, lights, decorative materials and projections. While searching for a new composition, we have to combine the existing elements in a different way and try to avoid the solutions they spontaneously offer by themselves, thereby transforming the identity of the existing scene.

Transcendence is possible when scenography exceeds its solely decorative function.

Creating the Scene Scenograpy can be divided in two parts; active and inactive part. The inactive part comprises all static elements that remain relatively unchanged during the entire event. Stage and scenery, furniture and decorations create the first impression and define the atmosphere. They serve to fill and designate the space. Unfortunately, they are often fixed and, deprived of help from the active part, tend to become dull and boring. The active equipment helps us to bring about changes in mood or atmosphere; light-show can be used to change color, create intimacy, pass from darkness to light or even shock us by drastic changes, while special effects, such as lasers, steam or pyrotechnics, make it look more attractive or dynamic. Amplifica­ tion and video-projection are also counted in the active part of an event. Video projection, especially, is one of the more interesting and useful scenographic elements, for it can be used in various ways. If the scene is relatively empty and the screen is big enough, video projection can drastically change the atmosphere in just a few seconds.

The active part (lighting, amplification and projections) has to be well planed, according to the progression of the event, and it certainly must be able to quickly adjust to any unexpected changes on the stage. No matter how much equipment will be used for the active part, the human factor remains the most important. In the absence of an expert technician the programming of the active part cannot serve the purpose of the event; bad programming can influence the event in a negative way, and harm the animation and the dynamics of the scenography.

Kakovostna scenografija je proizvod spretne kombinacije obstoječih elementov in izbire zamisli. Je kompromis med finančnimi in prostorskimi omejitvami ter neskončno domišljijo avtorja.

Good scenography is based on expert combination of existing elements and a well done selection of ideas. It is a compromise between financial and spatial limitations and the unlimited imagination of its creator.

Sodelovanje med naročnikom in scenografom Eden ključnih elementov ustvarjanja dogodka je korekten od­ nos med scenografom in naročnikom projekta. Z naročniki, ki imajo izdelano vizijo, je nekoliko lažje sodelovati, saj z izdela­ no predstavo o dogodku hitreje pridemo do končne rešitve.

Začetniki na področju dogodkov, ki niso prepričani v to, kaj si želijo in si težko predstavljajo ponujene možnosti scenogra­ fij, pa morajo zaupati v scenografa in njegovo presojo pri odločitvah. V takšnem primeru so v veliko pomoč najnovejše me­tode prikaza prostora. To so računalniško izrisane tridimen­ zionalne skice scenografije, umeščene v obstoječi prostor. Na teh skicah je možno prikazati tudi spremembe aktivnega dela scenografije in posameznih učinkov. To je pravi način dela in sodelovanja med scenografom in naročnikom, ki slednjemu omogoča, da se lažje odloča za posamezne rešitve in poeno­ stavi komunikacijo s scenografom.

www.scenografija.si

Cooperation of Two Parties One of the key elements when creating an event is a correct relationship between the scenographer and the organizer. By envisioning the event the organizer helps to facilitate the cooperation with the scenographer, as well as the final solution.

The beginners and newcomers in this field of business, who are not yet expert in the job or do not really know what they want, have no choice but to trust the scenographer and his ability to choose the right solutions. In such cases the new methods of 3D simulation prove to be really valuable. These computer-made three-dimensional drawings of the scenography-to-be include the possibility of demonstrating its active parts and its transformations, including all the special effects. They support the correct relationship between the scenographer and the organizer of the event, and help to improve their mutual cooperation and communication about possible solutions.

Scenografija / Scenography

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Karte naprodaj tickets for sale V Sloveniji je že šest let prisotno eno najuspešnejših in največjih »ticketing« ponudnikov v Evropi – podjetje Eventim, ki danes uspešno deluje v 16 evropskih državah in si kot enega glavnih ciljev v prihodnjih nekaj letih zastavlja prodor po vsej Evropi.

For the last six years, the Eventim Company - one of the biggest and the most successful ticketing companies in Europe, has been present in Slovenia. Until today, they have spread their business to 16 European countries and are planning to spread it even further throughout Europe in the next few years.

Ticketing

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Podjetje odlično deluje tudi v Sloveniji, kjer dnevno samo na internetu proda od 500 do 1000 vstopnic za različne dogodke.

Jure Pezdirc, direktor Eventima Slovenija je povedal, da se je vse začelo leta 2003, ko je Eventim dal pobudo o širjenju na Vzhod preko Nemčije in Avstrije v Slovenijo, Hrvaško in Srbijo. Takrat sta z Nicole Radermacher začela praktično iz nič. »Nismo imeli prodajnih mest, niti promotorjev. Začeli smo podpisovati po­ godbe o prodajnih mestih in prvi večji partner je bil Kompas.

V pol leta smo pridobili okoli 50 prodajnih mest v Sloveniji in začeli s prodajo vstopnic,« je razložil Pezdirc. Prvi večji projekt je bila Zlata Lisica v Mariboru, kmalu pa so začeli sodelovati tudi z drugimi partnerji, od koncertnih, gledaliških, do sejemskih in podobnih organizatorjev. V roku enega leta je Eventim pridobil skoraj vse koncertne organizatorje, sedež podjetja pa postavil v Hali Tivoli, centru športnih in drugih prireditev.

Internetna prodaja je vedno večja Danes ima Eventim v Sloveniji 600 prodajnih mest in sodeluje s ključnimi prodajnimi partnerji, kot so Petrol, Kompas, Big Bang, e-študentski servisi, trafike 3dva, Alpetour in drugi. Poleg tega vstopnice prodajajo v Cityparku v Ljubljani, Europarku v Mari­ boru ter na blagajnah Hale Tivoli, Križank in Kina Šiška. Izredno pomembna je internetna prodaja, ki obsega blizu 20 odstotkov vseh prodanih vstopnic. »Pri nas smo mogoče za odtenek bolj konzervativni, kar zadeva razvitost internetnega trga, ampak glede na rast prodaje prek interneta pričakujemo, da bomo v enem letu prišli v povprečje EU,« je trend rasti opisal Pezdirc.

Ena večjih prednosti internetne prodaje kart je, da lahko orga­ nizator vsak trenutek vidi, kaj se dogaja s prodajo vstopnic, in tako lažje oblikuje organizacijo in marketing.

In Slovenia, the Eventim Company has always been successful.

Every day, they sell from 500 to1000 tickets only through internet.

Jure Pezdirc, the company’s General Manager in Slovenia says it all started in 2003, when Eventim took the initiative to spread to the Eastern markets; through Germany and Austria, they reached Slovenia, Croatia and Serbia. Together with Nicole Radermacher they started practically from scratch. “We had no sales offices and no promoters. We started by signing contracts to gain some points of sale and Kompas became one of our first partners. In half a year, we gained some 50 points of sale throughout Slovenia and started selling tickets” Pezdirc explains. Their first major project was the Golden Fox Ski Championship in Maribor, and soon, new partners were found; from concert and theatre organizers to organizers of different fairs etc. In a year, Eventim signed partnerships with most of the country’s concert organizers and moved its headquarters to the Tivoli Hall, a well known sports hall hosting different events throughout the year.

Internet Sale Is On the Rise So far, Eventim has established a net consisting of 600 points of sale and gained important sales partners such as Petrol, Kompas, Big Bang, e-student offices, 3dva tobacco shops, Alpetour and many others. They also sell tickets in Citypark Ljubljana, Euro­park Maribor, as well as at the ticket offices of the Tivoli Hall, Križanke and Kino Šiška. Internet sale, which comprises about 20% of the entire ticket sale, is highly important. “Slovenia is a bit more conservative when it comes to the internet market, but considering the rise of internet ticket sale, we are expecting to reach the EU average fairly soon,” says Pezdirc. Internet sale allows the organizer to oversee the sales at every minute and thereby facilitates organization and marketing, and this is one of its prime advantages.

Importance of Foreign Markets The Eventim Company provides the event organizers in Slovenia with the possibility to sell their tickets abroad, at 15,000 international points of sale, which offers additional promotional possibilities in both directions but, unfortunately, the event organizers are not fully aware of the importance of foreign markets. “Exten­ ding the promotion of an event to the neighboring countries and combining it with internet ticket sale can constitute an excellent

Pomembnost tujih trgov Podjetje Eventim slovenskim organizatorjem omogoča tudi prodajo kart v tuje države na 15.000 mednarodnih prodajnih mestih. Pri tem gre za dodatno promocijo, ki poteka tudi v obratni smeri, vendar pri organizatorjih manjka zavedanja o pomembnosti tujega trga. »Če bi že sami vključili promocijo do­ godka tudi v bližnjih tujih državah, bi skupaj s prodajo vstopnic lahko izvedli odlično promocijsko kampanjo za dogodek,« je razložil Pezdirc. Organizatorji lahko dogodek oglašujejo tudi na tujih Eventimovih straneh, možna pa je tudi promocija v glasi­ lu, ki ga podjetje pošilja več kot 35.000 uporabnikom.

Slovenija ima dobra izhodišča Eventim je največji sistem za prodajo vstopnic v Evropi, prisoten v 16 evropskih državah, s ciljem prodreti na vse evropske trge. V naslednjem letu v podjetju pričakujejo, da bodo zgolj v Sloveniji prodali že skoraj milijon vstopnic. Poleg tega želijo izboljšati povezavo med organizatorji in prodajnimi mesti, saj naj bi bila ta tudi promotorji prodaje. Zaenkrat to že izvajajo na Petrolovih servisih in v Big Bangu ter na Kompasu s pomočjo plakatov. Obe­ nem si v Eventimu želijo čim več dogodkov in čim boljši odziv obiskovalcev, saj je to pogoj za številne prihodnje prireditve, izpeljane na visoki ravni. »S tem bo Ljubljana dejansko postala koncertna destinacija. Imamo odličen geografski položaj, kar se kaže tudi v številu tujcev, ki prihajajo na dogodke. Pozna­ mo tudi primere, ko je na ljubljanski koncert prišlo dobrih 30 odstotkov tujcev,« je še povedal sogovornik iz Eventima.

11/6/09

12:24 PM

Slovenia’s Great Potentials Eventim is the biggest ticket-sale system in Europe already pre­ sent in 16 European countries, and works with the aim to further spread its services throughout Europe to reach all existing markets. Their expectation for the next year is to sell almost 1 million tickets in Slovenia only. They would also like to improve connections between the event organizers and the points of sale which are meant to become also sales promoters. By the help of billboards, this system is currently in practice at Petrol gas stations, Kompas offices and Big Bang stores. Eventim would like to see more and more events taking place as well as achieve an even better response from the audience in order to facilitate the possibility of creating bigger, better and more events in the future. »This will make Ljubljana a true concert destination. Geographically, we are in a great position, which is why there are many foreigners who come to visit different events. There were cases when concerts in Ljubljana were visited by 30% of foreigners« says the Eventim representative.

www.eventim.si

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promotional campaign for an event,” claims Pezdirc. The organizers are welcome to advertise their events on Eventim’s foreign internet pages or apply for magazine advertising in a publication sent to more than 35,000 users.

pravi nakupi v

vinoteki DVOR ter www.kozelj.si

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When darkness is lit up Obiskovalci so zbrani, naenkrat se ugasnejo luči. Trenutek presenečenja, nato pa sledi šok. Barvni žarki prerežejo spokojno temo in začne se ples svetlobe, ki redko koga pusti ravnodušnega.

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Besedilo/TextDušan Matičič, Foto/PhotoLSP

The visitors are gathered, suddenly the lights go off. A moment of surprise, and then shock. Colour beams light up the peaceful darkness and the beginning of the dance of light captures everybody’s attention.

by beams

Kaj zmore laser?

Z laserjem je na prireditvah možno ustvariti raznovrstne učinke, ki se v osnovi delijo na grafične projekcije in žarkovne projekcije. Ko na nek raven medij, naj gre za platno, zid, skalo, v zraku lebdečo mrežo ali kaj podobnega, z laserjem rišemo sliko, govorimo o grafični projekciji. Narisati je možno poljub­ no sliko, logotip ali animacijo, možne pa so tudi kompleksne 3D animacije. Medtem ko je klasični video projektor omejen v oddaljenosti od platna in ostrini slike, je pri laserskem pro­ jektorju razdalja poljubna in omogoča tudi projekcije na zelo dolge razdalje, na primer čez jezero, slika pa je povsem jasna in ostra. Takšna uporaba laserja je nadvse primerna za različne predstavitve podjetij s projekcijami logotipov, besedil ali celo animacij.

Projiciranje je možno tudi na vodno zaveso, edinstven proiz­ vod, ki so ga razvili v LSP. Ta prireditvi doda še dodaten ele­ ment – vodo. Nanjo so možne projekcije tako z laserjem kot s klasičnim video projektorjem, postavimo pa jo lahko tako v zaprtih prostorih kot na prostem.

Mnogokrat laser ni projiciran na neko podlago, temveč riše žarke in ravnine, ki lebdijo in se premikajo po prostoru nad ljudmi, kar lahko največkrat vidimo na koncertih in drugih zabavnih prireditvah. V tem primeru gre za žarkovno projek­ cijo ali »beamshow«, ki je najbolje viden v temi. S tem gledalci izgubijo občutek za prostor in čuti zaplavajo skupaj s svetlobo.

Vse laserske učinke in animacije spremlja glasba, kar gledalce potegne v povsem novo dimenzijo, še posebej, ko laser sledi ritmu glasbe. Z žarkovno projekcijo je možno ustvarjati tudi osupljive svetlobne ravnine, v podjetju LSP pa so s pomočjo laserja že ustvarili tudi svetlobno kletko.

Ni za vsako prireditev Kot je poudaril Perhaj, laser ne sodi na vsako prireditev in je včasih moteč, z lasersko projekcijo pa lahko dogodek celo de­ gradiramo, zato ga ne gre pretirano izkoriščati. Laserska pro­ jekcija na dogodku predstavlja presežek, ki šokira in preseneti obiskovalce, saj lahko že triminutna laserska projekcija na tri­ urni prireditvi naredi zelo velik vtis na obiskovalce. A če laserja

As laser projections are still pretty unknown in Slovenia, the moment when darkness is lit up by beams is very attractive since it offers the audience something new and unknown.

Light spectacles with lasers started in Slovenia in the 1980s when the first company providing such services appeared, but Slovenian engineers had gathered experiences already much earlier. One of the pioneers of laser projections in Slovenia is Jože Perhaj and his company LSP as the largest Slovenian provider of laser projections. With his laser shows he has animated already a wide range of prestigious events.

What Can a Laser Do? A laser can create various effects, which can be divided into graphic projections and beam projections. Graphic projection is a laser painting a picture on a straight surface: canvas, a wall, a rock, a floating net or something similar. Any kind of pictures, logos, animations or even complex 3D animations can be painted. A classic video projector is limited in the possible distances from the canvas and in the picture sharpness, while a laser projector can be used from any distance and ­enables projections over very long distances, for instance over a lake, still displaying a clear and sharp picture. Such laser use is appropriate for different company presentations with logo or text projections and even animations.

Projections can be made also on water curtains, a unique pro­ duct developed by LSP, which brings an additional element into the event – water. Water can be projected on either with a laser or with a classic video projector and can be placed inside or outside.

Often, a laser is not projected onto a surface, but paints beams and planes that float and move in space above the people. This is mostly used at concerts and other entertainment events, i.e. beam projection or beam show, which is most visible in the dark. The audience thus loses the feeling for space and senses are being floated together with light. All laser effects and animations are accompanied by music transferring the audience into completely new dimensions, particularly when the laser follows the rhythm of the music. Beam projection enables also stunning light planes, and LSP has already created a light cage by means of a laser.

It Is Not Appropriate for Any Event Perhaj highlights that a laser does not belong at every event and may sometimes be disturbing, or even degrading and should thus not be used excessively. A laser projection represents an added value to an event that shocks and surprises the visitors, since even a 3-minute laser projection during a 3-hour event can make a big impression on the audience. But if the laser is used unreasonably and excessively, the good impression can quickly be spoiled.

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Laserske projekcije so še precejšnja neznanka v slovenskem prostoru, zato je trenutek, ko žarek prereže temo, še toliko bolj zanimiv, saj udeležencem dogodka ponuja nekaj novega, ne­ znanega.

Začetki svetlobnih spektaklov z laserji v Sloveniji segajo v osem­deseta leta, ko je bilo ustanovljeno prvo podjetje, ki je ponujalo tovrstne storitve, slovenski inženirji pa so izkušnje nabirali že mnogo let prej. Eden od začetnikov laserskih projek­ cij v Sloveniji je Jože Perhaj, največji slovenski ponudnik laser­ skih projekcij v okviru podjetja LSP, ki je v svojem delovanju z laserjem poživil že celo vrsto pomembnih dogodkov.

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ne uporabljamo smiselno in z njim pretiravamo, lahko ta vtis kaj hitro pokvarimo.

Vsakdo ne more delati laserskih projekcij Zanimivih in atraktivnih laserskih projekcij ne more delati vsak­ do. Prva ovira se pojavi že pri sami ceni, ki je za potrebe grafik in zahtevnih projekcij nekoliko višja, seveda pa tudi najdražja oprema na svetu ne pomaga, če uporabnik ne ve, kaj bi z njo počel. Kot pravi Perhaj, mnogokrat naleti na situacijo, ko se naročnik odloči za laser na svojem dogodku, vendar niti ne ve, zakaj ga potrebuje. Takrat se izkažejo izkušnje dobrega ponud­ nika laserskih projekcij, saj mora znati sodelovati z naročnikom, mu predstaviti možnosti in nato skupaj z njim najti rešitev. Per­ haj je kot ključno izpostavil dobro in pravočasno sodelovanje z naročnikom. Projekta vključevanja laserja v dogodek se je namreč treba lotiti pravočasno, ko je scenarij dogodka še v za­ snovi, saj je takrat še možno svetovanje glede uporabe laserja.

Ko je scena enkrat postavljena, je možnosti za spremembe zelo malo. Nekateri naročniki že zelo dobro poznajo laserje in tudi točno vedo, kaj zmorejo, kakšni so pogoji za delo in kako bo na samem dogodku laserska projekcija zgledala. Ker pa so te projekcije na slovenskih dogodkih vseeno nekaj dokaj novega, si nekateri naročniki precejkrat ne znajo predstavljati, kaj vse la­ser zmore in česa ne.

Kot pravi Perhaj, je potrebnega malce več dela pri naročnikih, ki se z laserjem srečujejo prvič, saj se včasih ne zavedajo, da je priprava takšne projekcije dolgotrajen proces, še posebej, če si na dogodku želijo kompleksne laserske grafike, za katere je potrebno tudi do meseca dni zahtevnega programiranja.

Poleg tega vključevanje laserja v dogodek zahteva kar nekaj razmisleka o tem, kaj bi radi z lasersko projekcijo dosegli. Lahko gre le za projekcijo logotipa podjetja na bližnji hrib ali za pre­ proste animacije, možni pa so tudi kompleksni učinki, kot so zahtevne grafike in ustvarjanje ambientov z laserskimi ravnina­ mi. Kot pravi Perhaj, je možnosti ogromno in včasih se šele ob iz­ vedbi same prireditve pokaže, kaj vse bi bilo še možno ustvariti.

www.lsp.si

Not Just Anybody Can Make Laser Projections Not just anybody can make interesting and attractive laser projections. The first obstacle is the price, which is higher due to graphic requirements and demanding projections, and of course the best equipment is useless if the user does not know how to use it. Perhaj says that he often experiences situations when the customer decides to have a laser at his event, but does not know why he needs it. That is when the experience of a good laser projection provider shows, since he has to know how to cooperate with the customer, present the possibilities and then together with the customer find a solution according to the given circumstances. Perhaj emphasizes the importance of good and timely cooperation with the customer. The idea of integrating a laser in the event has to be developed in due time when the event scenario is still in the design, since there is still possibility to give advice regarding the use of the laser. Once the scene is set, there is little option for changes. Some customers are already very familiar with lasers and know exactly what they can do, what work conditions are needed and how the laser projection will look like at the event. Since these kinds of projections are rather new at events in Slovenia, some customers cannot really imagine what a laser can do or cannot do.

As Perhaj says, more effort is needed in relation to customers that work with a laser for the first time, since they are not always aware that the preparation of such a projection is a long process, particularly if they wish to have complex laser gra­phics at the event, which sometimes require up to one month of demanding programming. Moreover, if you wish to have a laser at your event, you need first to carefully determine what you aim to achieve with the laser projection. It can be simply a company logo projection onto the nearest hill or simple animation, but also complex effects such as demanding graphics and the creation of ambiance with laser planes are possible. As Perhaj affirms, the possibilities are endless and sometimes it is only du­ring the implementation of the event that one realizes what more could have been created.

Ambasadorji kulinarike Hiša kulinarike Jezeršek

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INTERVJU/INTERVIEW: Franc Jezeršek, Hiša kulinarike Jezeršek Besedilo/TextDušan MatičičFoto/PhotoHiša kulinarike Jezeršek

Ambassadors of Sl Franc Jezeršek se je z gostinstvom začel ukvarjati kot samostojni podjetnik leta 1981, ko je začel pripravljati tople obroke za družbeno prehrano, a kaj kmalu je našel tržno nišo na področju kulinarike – catering. Po 28 letih obstoja Hiša kulinarike Jezeršek velja za vodilnega ponudnika cateringa v Sloveniji, njihova Hiša kulinarike v Sori pa za edinst­ veni objekt v Sloveniji in tudi izven meja, ki je bil namensko grajen za potrebe cateringa.

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ovenian CUISINE Franc Jezeršek set out to work within the hospitality industry in 1981 as a private entrepreneur, when he started to prepare warm everyday dishes for social gather­ ings, but soon he found a market niche in the field of culinary arts – catering. The Jezeršek House exists for 28 years and has a reputation for being the top catering provider in Slovenia, and their culinary house in Sora for being the first dedicated catering facility in Slovenia, and also abroad.

V Hiši kulinarike Jezeršek se trudimo, da bi zasejali seme ponovnega vračanja slovenske kulinarike v slovenske gostilne.

The Jezeršek House aims to initiate the reintegration of Slovenian cuisine into Slovenian restaurants.

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V Hiši kulinarike Jezeršek so pravočasno prepoznali in začeli soustvarjati smernice slovenske kulinarike in zato tudi aktivno sodelujejo v promociji slovenske hrane prek projektov Okusiti Slovenijo in Gostilna Slovenija. Prvi je nastal v sodelovanju z et­ nologom Janezom Bogatajem in podporo Slovenske turistične organizacije, drugi pa kot diplomska naloga najmlajšega sina in se razvil v strategijo promocije pod okriljem Obrtne zbornice Slovenije.

Kaj je namen cateringa in dela ekipe Hiše kulinarike Jezeršek?

Franc Jezeršek: Catering oziroma pogostitev ni nikoli osnovni namen, a brez pogostitve ni pomembnega dogodka. Naš cilj je pomagati naročniku doseči njegov cilj - na primer predstaviti nov poslovni objekt, obeležiti obletnico podjetja, poroke, jubi­ lej. Pri odprtju poslovne stavbe pa morajo ljudje spoznati novo stavbo in mi skozi pogostitev ljudem omogočimo, da jo spozna­ jo. Lep primer je tudi slavnostna večerja na državniškem spreje­ mu, ki je le sestavni del celotne zgodbe srečanja državnikov in omogoča zdravico obeh udeleženih. Hrana namreč združuje ljudi, mislim, da je to osnovni namen. Ko se udeležimo katerega koli dogodka, pa naj gre za koncert, predstavo ali razstavo, je treba dogajanje na koncu vedno premleti. Za to potrebujemo prostor s primernim ambientom, kozarec in krožnik. Pogovori se na dogodkih ne začenjajo z vremenom, temveč s hrano, pijačo, vinom, ambientom. Zato vsakega naročnika najprej vprašamo, kaj je njegov namen. Vedno se trudimo prek kuli­ narike usmerjati ljudi k pogovoru - kakšnemu pa, je odvisno od naročnika.

Hiša kulinarike Jezeršek quickly recognized the guidelines of Slovenian cuisine and started to co-create them. Therefore, they also play an active part in the promotion of Slovenian food through the Taste Slovenia (Okusiti Slovenijo) and Slovenian Inn (Gostilna Slovenija) projects. The first project was initiated in cooperation with the ethnologist Janez Bogataj and the Slovenian Tourist Board; the second one resulted from the BA dissertation of the youngest son and developed into a promotion strategy under the auspices of the Chamber of Craft of Slovenia.

What is the purpose of catering and the Jezeršek House team’s work?

Franc Jezeršek: Catering or refreshments are never the primary purpose, but there is no important event without refreshments or a reception. Our aim is to help customers attain their purpose: pre­ sent a new business facility, celebrate a company, wedding or other anniversary. At the inauguration of a business facility, the guests should get to know the new building, and by means of a reception we make this possible. Another example is also a festive dinner on the occasion of a state reception, which is just a component part of the entire event of a gathering of statesmen that praises both parties involved. Food unites people; I believe this is the primary purpose. Any kind of event, a concert, performance or exhibition, needs to be thought over in the end. In order to do this, a space with an appropriate ambiance, a glass and a plate are required. Talks at events do not start with the weather, but with the food, drinks, wine, and the ambiance. Therefore, we first ask the customers about their purpose. We always attempt to lead people via culinary arts to conversation; to what type of conversation depends on the customer.

Pogostitev ni nikoli osnovni namen, a brez nje ni pomembnega dogodka.

Catering or refreshments are never the primary purpose, but there is no important event without refreshments or a reception.

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Kakšna je zgodba Hiše kulinarike Jezeršek?

Franc Jezeršek: Podjetje obstaja že od leta 1981, ko smo začeli s pripravo jedi za družbeno prehrano, kmalu pa smo odkrili tržno nišo v obliki pogostitev izven poslovnih prosto­ rov. Najprej so bili to pikniki, tudi zelo veliki, že leta 1983 smo na primer pripravili piknik za 13.000 ljudi. Nato smo začeli s pogostitvami v Cankarjevem domu in od tam naprej je naša dejavnost strmo naraščala. V tistih časih takšne ponudbe ni bilo, tako da smo odkrili tržno nišo, ki smo jo dolga leta tudi sami polnili. V začetku devetdesetih let so se pojavili drugi po­ nudniki, ki nam sledijo, mi pa poskušamo biti prvi in najboljši, zato moramo biti inovativni in oblikovati nove zgodbe, nove dogodke.

Ste šolan gostinec?

Franc Jezeršek: Po osnovnem poklicu sem kuhar, bil sem tudi strokovni učitelj kuharstva, prav tako moja žena. Po desetih letih dela na gostinski šoli v Ljubljani sem se leta 1981 odločil za samostojno pot in začeli smo podobno kot drugi obrtniki, »v garaži« stanovanjske hiše. No, v resnici je šlo za celo etažo stanovanjske hiše. Po osamosvojitvi Slovenije so se začela v Lju­ bljani odpirati veleposlaništva, ministrstva in druge ustanove.

Nova država je potrebovala kakovosten catering in kmalu obstoječi prostori niso bili več primerni. Leta 1994 smo začeli z gradnjo Hiše kulinarike, ki je bila dokončana leta 1996. V tem

What is the story of the Hiša kulinarike Jezeršek?

Franc Jezeršek: The company was created in 1981, when we started preparing dishes for social gatherings. Very soon, however, we discovered the market niche of refreshments outside of business facilities. At first, there were picnics, also very big ones; already in 1983, for instance, we prepared a picnic for 13,000 guests.

Then we started to provide refreshments at Cankarjev Dom and from there on our activity just began to sharply increase. At that times there were no such offers on the market. We have discovered a market niche, which we also filled for a long time. In the beginning of the 1990s, other providers entered the market following our principles, nevertheless, we try to remain the first and the best, and therefore we have to be innovative and continuously create new stories and events.

Are you a caterer by profession?

Franc Jezeršek: My primary profession is chef. I used to be a professional teacher of cooking and my wife as well. In 1981, after 10 years of teaching at the Ljubljana School for catering, I decided to make my own way and similarly like other crafts, it all began in a ‘garage’. Well, actually it was an entire floor of our house. Following Slovenia’s independence, embassies, ministries and other institutions opened in Ljubljana. The new country needed quality catering and soon the existing spaces became inappropriate. In 1994, we started to build the Hiša kulinarike that was finished in

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trenutku je to še vedno edini objekt v Sloveniji in tudi širše, ki je bil namensko grajen za potrebe cateringa.

1996. To date, this remains the only dedicated catering facility in Slovenia and also in the wider area.

Ste se v svojem delu zgledovali po tujini?

Franc Jezeršek: Ne, že od začetka smo natančno vedeli, kaj hočemo. Težko bi rekel, da smo ob odločitvi za gradnjo Hiše ku­ linarike točno vedeli, kako se bo vse skupaj izteklo, a imeli smo dobra izhodišča. Vedeli smo, kakšne so potrebe in zahteve trga in z gradnjo smo se odzvali nanje. Še vedno lahko rečem, da je to objekt, ki je bil grajen za jutri in nikakor ne za včeraj, tako po obsegu kot po namenu. Če se malo pošalim, bi lahko rekel, da bi danes objekt gradili enako, po enakih principih kot v devet­ desetih letih. Koncept je ostal enak.

Did you draw your inspiration from abroad?

Franc Jezeršek: No, we have known what we wanted already from the beginning. I cannot say that we knew how things would develop after having decided to build the Hiša kulinarike, but we had good starting points. We recognized the market needs and demands, and with the house, we responded to them. As regards its scope as well as its purpose, I can still claim that the house was built for the future and not for the past. As a joke I can say that the house would be built in the same way and following the same principles today as it was in the 1990s. The concept remained the same.

Kako pa se je razvijala kulinarična ponudba? Vemo, da so se kulinarični okusi močno spremenili.

Franc Jezeršek: Zagotovo lahko govorimo o različnih obdob­ jih razvoja cateringa v Sloveniji. Ko smo ponudbo lansirali na trg, je bila osnovna naloga poleg lastnega izobraževanja tudi izobrazba kupcev. V začetnem obdobju je bila ključna količina hrane na dogodkih. Ljudje niso smeli biti lačni. Nato je sledilo obdobje, ko se je pokazalo, da je hrane in pijače na naših do­ godkih dovolj, zato je bilo treba slovenskemu trgu ponuditi ku­ linariko, ki je ni poznal. Takrat so bili zanimivi losos, prepeličja jajca, kaviar, škampi, torej hrana, ki pri nas ni bila vsak dan na razpolago. To se je dogajalo v zadnji polovici osemdesetih let ter začetku devetdesetih. Meje so bile pred vojno že relativno odprte in ljudje so hodili po nakupih v tujino, niso pa še imeli možnosti za nakup živil, ki so takrat veljale za prestižne.

How has the culinary offer evolved? As we know, culi­ nary tastes have changed significantly.

Franc Jezeršek: We can certainly speak about different periods of the development of catering in Slovenia. When we launched our offer on the market, we first had to educate ourselves and particularly the customers. In the beginning, the quantity of food at events played the key role. People could not leave hungry. After that came a period that showed that there was enough food and drinks at our events, therefore we had to provide the Slovenian market with new unknown cuisine. At that time, salmon, quail eggs, caviar, shrimps – food that was not available everyday in Slovenia – became interesting. That was in the second half of the 1980s and in the beginning of the 1990s. Borders were already relatively open before the war and people went to shop abroad, but they did not have the opportunity to purchase food that was considered prestigious at that time.

Kje ste jih vi kupovali?

Franc Jezeršek: Jaz sem jih dvakrat tedensko kupoval v Avstri­ ji. Te ponudbe je bilo takrat na pogostitvah malo, a z njo smo vzgajali goste in tudi ponudnike ter dobavitelje v Sloveniji. Bili smo pionirji, saj smo spodbujali povpraševanje, istočasno pa imeli odgovor nanj. Sledila je osamosvojitev Slovenije, odprtje meja in ponudba hrane, ki je bila še pred kratkim nedoseglji­ va. Od tu naprej je bil potreben le še korak. Ugotovili smo, da imamo na voljo vse, kar si želimo, naročniku je bilo torej treba ponuditi novo zgodbo. Kot rad rečem: ko stroka zaide v krizo, se vrne h koreninam. In mi smo se tega zavedali. Ob vsesplošni poplavi kakovostnih surovin in vin smo zelo hitro odreagirali v smer, ki ji sledimo še danes in ji bomo sledili tudi v prihodnosti.

Vrnili smo se h koreninam.

Ima Slovenija zdrave kulinarične korenine?

Franc Jezeršek: Seveda. Ne gre zgolj za hrano naših mam in babic, treba se je poglobiti v zgodovino in prehranske navade ljudi v tem prostoru. Slovenija je zanimiv prostor, v katerem se prepleta kulinarika alpskega, panonskega in mediteranskega sveta ter osrednje Slovenije. V osrednji Sloveniji, v glavnem mestu, so bili v zgodovini prisotni izobraženci in duhovščina.

To je bil tisti del prebivalstva, ki je s potovanj prinašal nove prehranske navade, surovine, začimbe, običaje. Šlo je za neke vrste stičišče kulinaričnih vplivov. S pomočjo znanja profe­ sorja Janeza Bogataja in drugih strokovnjakov smo ugotovili, da je kulinarično Slovenijo treba ponuditi kot srednjeevropsko deželo, ki so jo oblikovali vsi ti vplivi, tako kulinarični kot drugi.

S tem se je torej razvila blagovna znamka Okusiti Slo­ venijo?

Franc Jezeršek: Pred štirimi leti se je razvila strategija gas­ tronomije Slovenije pod pokroviteljstvom STO (Slovenske turistične organizacije) in ob sodelovanju Janeza Bogataja ter še nekaterih strokovnjakov. Profesor Bogataj je Slovenijo razdelil na 24 gastronomskih regij, iz katerih je izbral 176 jedi, ki jih je zbral v knjigi Okusiti Slovenijo. Za fotografije v knjigi

Where did you purchase foodstuff?

Franc Jezeršek: I purchased it twice a week in Austria. These offers were rare at events at that time, but we educated guests as well as providers and suppliers in Slovenia. We were pioneers as we encouraged demand, and at the same time had the response to it. Then, Slovenia became independent, the borders opened and thus food that was inaccessible before became available. After that, only one step was needed. We discovered that everything we wished for was available; we had to provide the customer with a new story. As I like to say: when a profession is in crisis, it returns to its roots. And we were aware of that. There was an overflow of quality foodstuff and wine. We responded very quickly and took a direction we are following until today and we will continue to follow in the future: we returned to the roots.

Does Slovenia have healthy culinary roots?

Franc Jezeršek: Of course. It is not just about our mother and grandmother’s food, we have to look deeper into history and ­dietary habits of people in this area. Slovenia is an interesting place where the Alpine, Pannonian, Mediterranean and central Slovenian culinary worlds melt together. In central Slovenia, in the capital city, there used to live academics and clergy in the past.

That was the part of the population who brought new dietary habits, foodstuff, spices and traditions from their journeys. It was a kind of meeting point of culinary influences. Thanks to Professor Janez Bogataj and other experts, we discovered that Slovenia with its culinary arts has to be presented as a Central European country that was influenced by all these factors, culinary and others.

This was how the trademark Taste Slovenia developed?

Franc Jezeršek: Four years ago, a Slovenian gastronomy stra­ tegy was developed under the auspices of the Slovenian Tourist Board and in cooperation with Janez Bogataj and some other experts. Professor Bogataj divided Slovenia into 24 gastronomic regions, from which he chose 176 dishes that he gathered in the Taste Slovenia book. For photographic purposes, Hiša kulinarike

V tem trenutku je Hiša kulinarike Jezeršek v Sori še vedno edini objekt v Sloveniji, ki je bil namensko grajen za potrebe cateringa, Dvor Jezeršek pa predstavlja kulinarično središče Okusiti Slovenijo.

To date, the Jezeršek House remains the only dedicated catering facility in Slovenia, while Dvor Jezeršek represents the centre of culinary arts Taste Slovenia. smo v Hiši kulinarike Jezeršek pripravili vseh 176 jedi in se tako v živo spoznali z njimi. Razumljivo smo se ob raziskovanju in pripravah srečali z ljudmi iz različnih regij, mnoge smo tudi povabili k sodelovanju. Ker je bila zgodba zanimiva, ne le za nas in naše naročnike, temveč tudi za agencije, ki vozijo ljudi v Slo­ venijo, za Kongresno-turistični urad, STO in ministrstva, smo se odločili, da naš Dvor Jezeršek na Zgornjem Brniku spremenimo v kulinarično središče Okusiti Slovenijo. To je zdaj naša največja konkurenčna prednost.

Za takšen projekt pa se je treba ozreti širše?

Franc Jezeršek: To kulinarično zgodbo smo želeli predstaviti v Ljubljani pred magistratom, a smo na koncu ugotovili, da so za tak dogodek, za promocijo, zainteresirani tudi drugi izvaja­ lci, ki soustvarjajo dogodek. To so tisti, ki postavljajo šotore, odre, ozvočenje, ki znajo osvetljevati, projicirati in vse ostalo. Tako se je zgodila zgodba štirih na dogodku SLOevent. Povabili smo agen­ cije, poslovne partnerje, torej vse, za katere bi bila ta ponudba la­ hko zanimiva in koristna. Treba pa je poudariti, da je vsak dogodek edinstven - zato, ker je edinstvena lokacija, datum, ura, število in struktura gostov. Vse to zahteva, da se dogodek oblikuje z vseh zornih kotov in mi smo le en delček v mozaiku dogodka.

prepared all 176 dishes and thus became familiar with them. During the research and preparations, we met people from different regions and cooperated with them. Since the story was interesting not only for us and our customers, but also for agencies bringing people to Slovenia, for the Slovenian Convention Bureau, the Slovenian Tourist Board and ministries, we decided to change the Dvor Jezeršek in Zgornji Brnik into the Taste Slovenia Culinary Centre. This has become our biggest competitive advantage.

And for this kind of project one needs to look further?

Franc Jezeršek: We wanted to present this culinary story in front of the Ljubljana Town Hall, and in the end we discovered that also other operators participating in events were interested in such an event and promotion – those who set up tents, stages, sound and light systems, projections and everything else. This is how the story of four was brought about at the ‘SLOevent’. We invited agencies, business partners, everybody who might find this offer interesting and useful. It has to be emphasized though that every event is unique, because of its unique location, date, time, number and structure of guests. Therefore, an event has to be drawn up from all angles and we are merely one part in the big event mosaic.

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Hiša kulinarike Jezeršek

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Ste pri dobavi surovin vezani na slovenske dobavitelje?

Franc Jezeršek: Dejstvo je, da brez dobrih surovin ne more biti dobrega izdelka, zato sodelujemo z dobavitelji, ki nam dobav­ ljajo najboljše surovine. Ko pa beseda nanese na najboljše surovine, pa se lahko pogovarjamo o najboljših slovenskih dobaviteljih, najbolj ekoloških dobaviteljih, čisto na koncu pa mogoče pridemo tudi do tega, kaj je svetovno najboljše. Tru­ dimo se, še posebno pri pijačah, podpirati slovenske vinarje, slovenske proizvajalce sokov in vode. Želimo sodelovati z najkakovostnejšimi ponudniki mesa, če je le možno sloven­ skega, včasih pa se je treba ozreti tudi v svet. Glavno načelo je ponuditi slovensko hrano iz slovenskih surovin, v slovenskem ambientu in s slovenskimi natakarji, ker v končni fazi Slovenci živimo od tega, kar je naše. Ko gre za strategijo Okusiti Sloveni­ jo pa še posebej vztrajamo, da so proizvodi izključno slovenski, če je le mogoče celo regijsko omejeni.

Are you bound by Slovenian suppliers in the supply of foodstuff?

Franc Jezeršek: The fact is that a good product requires good foodstuff, therefore we cooperate with suppliers that supply the best foodstuff. When talking about the best foodstuff, we can mention the best Slovenian suppliers, the ecological suppliers, and in the end, we may get to the best global suppliers. Especially as regards drinks, we try to support Slovenian winemakers, and juice and water producers. We aim to cooperate with high-quality meat suppliers, if possible Slovenian, but sometimes we have to reach to other countries. The main principle is to offer Slovenian food made from Slovenian ingredients in a Slovenian ambience and with Slovenian waiters; as at the end of the day, we live from what is ours.

When it comes to the Taste Slovenia strategy, we particularly insist that the products should be exclusively Slovenian, if possible even regionally limited.

Kako sodelujete z vinarji?

Franc Jezeršek: Odlično. Na vsaki prireditvi se trudimo pred­ staviti celotno vinsko zgodbo Slovenije. Ponujamo izključno slovenska vina, tuja se pojavijo zgolj, ko delamo na dogodkih za ambasade. Če delamo za francosko ambasado, bodo seveda poleg francoska vina, za nemško nemška, a ta vina tudi sami priskrbijo. Tujih vin v naši hiši ni, prav tako skoraj ne tujih živil, ki jih uporabljamo za pripravo dogodkov.

How is your cooperation with winemakers?

Franc Jezeršek: Excellent. We try to present the entire Slovenian wine story at every event. We offer exclusively Slovenian wine; only at events organized for embassies, we offer foreign wine. If we work for the French embassy, there will certainly be French wine, for the German embassy German wine, which they also provide themselves. There is no foreign wine in our house, and almost no foreign foodstuff that we would use at events.

Kako ocenjujete slovensko kulinarično izročilo glede na sosednje narode? Ali je Slovenija kulinarično izrazita?

Franc Jezeršek: Slovenija je na kulinaričnem prepihu, ampak Slovenci smo zunanje vplive sprejeli in jih prilagodili surovinam iz svojega območja. Tako kakovostnih živil in vin, kot jih imamo na tem malem slovenskem prostoru, ne najdemo nikjer drugje na svetu, naloga kmetov, vinarjev in seveda tudi gostincev in trgovcev pa je ohranjati to dediščino. Če bomo to izgubili, bomo izgubili veliko.

Kaj pa vpliv Balkana?

Franc Jezeršek: Vpliv Balkana je bil prevelik in smo mu začeli slepo slediti zaradi vpetosti v nekdanjo skupno državo in zaradi dokaj preproste priprave jedi. To je privedlo do tega, da so na vseh gasilskih veselicah prodajali le še čevapčiče, ražnjiče in pleskavice. Pred šestimi leti smo se odločili slovenskemu pro­ storu dokazati, da to ni potrebno in začeli s promocijo kranj­ ske klobase. Danes, šest let po tem, so rezultati fenomenalni.

Kranjska klobasa se prodaja in mesarji mi govorijo, da je trend povečevanja prodaje 100 odstotkov na leto. Ljudje spoznavajo, da je bilo tu veliko zamujenega in podobno se dogaja z dru­ gimi jedmi. Žalostno je tudi, da se je v zadnjih desetih ali dvaj­ setih letih odprlo polno picerij, a nobene slovenske gostilne.

Moj najmlajši sin, Martin, je letos diplomiral na Višji strokovni šoli za gostinstvo v Mariboru na temo Gostilna Slovenija. Ideja je napredovala in na OZS (Obrtni zbornici Slovenije) v sekciji za gostinstvo in turizem smo se odločili za oblikovanje blagovne znamke Gostilna Slovenija. Do nje ne bo lahko priti, a vendarle bodo morda v desetih ali dvajsetih letih tujci vedeli, kaj je to slovenska gostilna, tako kot mi danes vemo, kaj je irski pub ali madžarska čarda.

Torej je prek gostinstva treba graditi neko nacionalno turistično blagovno znamko?

Franc Jezeršek: Če grem na Irsko, bom obiskal pub, ga opa­ zoval in ga doživljal kot zgodbo, zgrajeno na tradiciji. Ko pa pridem v Slovenijo, ne vem, kaj doživljam, nimamo tipične gostilne. Ničesar nimamo, po čemer bi si tujec lahko slovensko kulinariko zapomnil, nimamo kulinarične identitete. Sloven­ ske gostilne so slepo sprejele tuje vplive in sedaj smo prišli do točke, ko naši otroci ne vedo več, kaj je pražen krompir, pohana

What is your assessment of the Slovenian culinary he­ ri­tage compared to our neighbours’? Is Slovenia’s cui­ sine prominent?

Franc Jezeršek: Slovenia is a junction of culinary arts but Slovenians accepted external influences and adapted them to ingredients from this area. Such quality food and wine that can be found in this small Slovenian area cannot be found anywhere else in the world. The task of farmers, winemakers and caterers and traders is to preserve this heritage. If we lose this, we will truly lose a lot.

What about the impact from the Balkans?

Franc Jezeršek: The impact from the Balkans was too big and we started to follow it blindly due to our former integration in a common country and due to the relatively simply prepared food. This led to čevapčiči (grilled minced meat), ražnjiči (skewered meat) and pleskavice (meat patties) being sold at every village party.

Six years ago, we decided to show to Slovenians that this is unnecessary and started to promote the Carniolan sausage. Today, six years later, the results are phenomenal. The Carniolan sausage sells well and butchers tell me that sales increase by 100% every year. People are realizing that we have missed a lot and it is similar with other dishes. In the past ten or twenty years, numerous pizzerias opened, but unfortunately no Slovenian restaurant. My youngest son Martin this year graduated from the Vocational College for Catering Maribor on the topic of the Slovenian Inn. The idea developed further and together with the Chamber of Craft of Slovenia’s Section for catering and tourism we decided to ­create the trademark Slovenian Inn (Gostilna Slovenija). It will not be easy, but maybe in ten or twenty years foreigners will know what a Slovenian Inn (gostilna) is, as we know today the Irish pub or the Hungarian csarda.

So, a national tourist trademark has to be created ­thro­ugh culinary arts?

Franc Jezeršek: If I go to Ireland, I will visit a pub, observe it and experience it as a story built on tradition. When I come to Slovenia, I do not know what to experience, there is no typical restaurant or bar. There is nothing that a foreigner could remember in relation to culinary arts; there is no culinary identity.

Slovenia is certainly a junction of culinary arts but Slovenians accepted external influences and adapted them to ingredients from this area. Such quality food and wine that can be found in this small Slovenian area cannot be found anywhere else in the world.

piška ali teranov toč. To so slovenske jedi, ki bi jih morali pozna­ ti. Zato se zelo intenzivno trudimo v obeh naših objektih in tudi v sekciji gostincev na OZS ter drugih združenjih, da slovensko kulinarično zavest spet oživimo.

Slovenian restaurants blindly accepted external influences and we have reached a point where our children do not know about roasted potatoes, fried chicken or teranov toč (prosciutto grilled on teran wine with polenta) anymore. Those are Slovenian dishes that ­everybody should know. With both our facilities, the caterer’s section at the Slovenian Chamber of Craft and other associations we therefore strive intensely to reanimate the Slovenian culinary awareness.

Lahko bi rekli, da ste kulinarični ambasadorji Slovenije?

Franc Jezeršek: Lahko bi rekli, da je to moj sin, Martin, ki je bil razglašen za ambasadorja gostoljubja leta 2009. Skupaj s kolegico sta zagovarjala svojo diplomsko nalogo na temo Gostilna Slovenija v Maroku, kjer sta dosegla drugo mesto. Če govorimo o Hiši kulinarike Jezeršek, pa se trudimo, da bi zasejali seme ponovnega vračanja slovenske kulinarike v slovenske gostilne. Ena od idej, ki je bila fantastično spre­ jeta že pred leti, je bila, da smo se na gostinsko-turističnem zboru slovenski gostinci predstavili le s štruklji. Sledila je ideja za kašo in tako smo pripravili skoraj sto vrst jedi iz kaše - proseno, ječmenovo, ajdovo, v solatah, juhah, toplih pred­ jedeh, glavnih jedeh. Veliko moramo še postoriti, a gremo v pravo smer.

Torej je v kulinariko vpeta cela družina?

Franc Jezeršek: Zagotovo smo najbolj gostinska družina v Slo­ veniji. Poleg naju z ženo so tudi vsi štirje sinovi šolani gostinci.

Najstarejši sin je šef kuhinje, drugi je vodja Hiše kulinarike v ce­ loti, tretji je vodja Dvora Jezeršek na Zgornjem Brniku, najmlajši pa namerava prihodnje leto iti na izobraževanje v Švico. Mislim, da smo gostinska družina in imamo, tudi v okviru širše družine, ki pomeni vse zaposlene, združenega zelo veliko strokovnega znanja, ki ga stalno dopolnjujemo.

In kako znanje dopolnjujete?

Franc Jezeršek: Najstarejši trije sinovi so pred kratkim pri­ dobili naziv mojstra strežbe, prva dva pa tudi naziv mojstra kuharstva v Sloveniji nasploh, saj smo na OZS dosegli, da je tudi to postal mojstrski poklic. Izobražujemo tudi vse druge zaposlene, v kratkem gremo na gostinsko-turistični zbor, nato na srečanje gostincev v Portorožu, zaposleni pa hodijo tudi na dodatna izobraževanja tujih jezikov. Vemo, da je znanje konkurenčna prednost.

Delate tudi v tujini?

Franc Jezeršek: Seveda. Pravkar smo bili v Frankfurtu, kjer smo pripravili pogostitev za potencialne kongresne organiza­ torje dogodkov v Sloveniji. Bili smo tudi v Milanu, še prej pa v Franciji, kjer smo delali promocijo za kongres čebelarjev, ki bo prihodneje leto v Sloveniji. Sicer pa smo bili na že vsaj desetih dogodkih v Bruslju, na olimpijskih igrah v Albertvillu, na sve­ tovnem srečanju ekonomistov v Davosu, v Zürichu, delamo na ladji Prince of Venice, na Dunaju in podobno. V tujino hodimo precej, a ne zaradi zaslužka, temveč zaradi srečavanja s tujo konkurenco in promocije.

www.jezersek.si

Could we say that you are Slovenia’s culinary ambas­ sadors?

Franc Jezeršek: We could say that my son Martin is; he was pronounced ambassador of hospitality in 2009. Martin and his colleague defended their BA dissertation on the Slovenian Inn (Gostilna Slovenija) in Morocco and won second place. Hiša kulinarike Jezeršek aims to initiate the reintegration of Slovenian cuisine into Slovenian restaurants. One of the ideas, which was accepted extremely positively already some years ago, was to represent Slovenian caterers only with dumplings (štruklji) at the Catering and Tourism Convention. This was followed by the idea of groats and thus we prepared almost 100 different dishes from groats – millet, barley and buckwheat groats; in salads, soups, hot starters, main dishes. There is still much to do, but we are heading the right direction.

So the entire family is involved in culinary arts?

Franc Jezeršek: We are certainly the most involved caterer fa­mily in Slovenia. Besides me and my wife, also our four sons are caterers by profession. The oldest son is chef de cuisine, the second one is head of the entire business, the third is head of the Dvor Jezeršek in Zgornji Brnik, and the youngest son aims to follow an education in Switzerland next year. I believe we are a caterer family and within the wider family, which includes all employees, we gather a great amount of expertise that is being continuously developed.

How do you develop your expertise?

Franc Jezeršek: The three oldest sons recently gained the title of masters of serving, and the first two also the title of masters of cooking; since we have achieved in the Slovenian Chamber of Craft for cooking also to become a master profession. We train also all other employees; shortly we will participate in the Catering and Tourism Convention, the meeting of caterers in Portorož, and employees also attend additional language courses. We are aware that knowledge is a competitive advantage.

Do you work also abroad?

Franc Jezeršek: Of course. Recently, we were in Frankfurt where we prepared a reception for potential congress organi­ zers of events in Slovenia. We were also in Milan, and before that in France in order to promote a beekeepers congress to be held next year in Slovenia. We have participated in at least ten events in Brussels, at the Olympic Games in Albertville, the World Economic Meeting in Davos, in Zurich, on the Prince of Venice boat, in Vienna and so on. We participate at events abroad a lot, but not because of the earning, but to meet the foreign competition and for self-promotion.

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Slovenija je na kulinaričnem prepihu, ampak Slovenci smo zunanje vplive sprejeli in jih prilagodili surovinam iz našega območja. Tako kakovostnih živil in vin, kot jih imamo na tem malem slovenskem prostoru, ne najdemo nikjer drugje na svetu.

Mojstri ognjenega spektakla Masters of flying fire Besedilo/TextŠpela Bric, Foto/PhotoČupakabra

Čupakabra / Chupakabra

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Profesionalna žonglerska skupina Čupakabra deluje kot podsekcija alternativnega športnega in kulturnega društva Deska Dežela iz Lesc. Nekoč popoldanska popestritev prostega časa je v nekaj letih prerasla v profesionalno dejavnost, ki danes temelji na rednih treningih, vztrajnosti pri pripravah na nastope ter preizkušanju novih žonglerskih nalog.

Chupakabra, a professional jugglery group, is one of the branches of an alternative sports and cultural club Deska Dežela from Lesce. What used to be a way of spending their free time has now become a real professional activity, based on perseverance, practice, regular rehearsals and a constant effort to master new jugglery skills.

Začetki Čupakabre segajo v leto 2006, ko so javnosti prvič pred­ stavili svoje spretnosti z različnimi pripomočki. Kljub javnemu preboju pa je bilo za resnejše delo treba vložiti še veliko truda.

Z vztrajnostjo so Saša Dežman, Rožle Bregar, Jernej Žnidar, Tadej Gorzeti in Andraž Teran dosegli odlične odzive publike in žongliranje je postala njihova prava strast.

Promotorji letečih žogic Čupakabrovci so se z več kot 100 nastopi z ognjenimi žon­ glerskimi pripomočki, žonglerskimi spektakli ter zabavnimi klovnskimi in igranimi točkami za otroke že predstavili doma

Chupakabra’s beginnings go all the way back to 2006, when they held their first open show where they presented their abi­lity to handle different props. Despite that public breakthrough the way to stardom still demanded serious efforts. Not willing to give up, Sasa Dezman, Rozle Bregar, Jernej Znidar, Tadej Gorzeti and Andraz Teran experienced ever greater support from their audience, until jugglery became their true passion.

Flying Props Promoters The boys from Chupakabra held more than 100 shows at home or abroad, including some clown and theatre performances for chil-

in v tujini. Pri žongliranju uporabljajo žogice, keglje, dia­ bole, hudičeve palice in poije, tuje pa jim ni niti žongliranje z gorečimi rekviziti. Nekatere pripomočke za njih izdelajo v delavnici trgovine Drop In v Lescah, na pravem naslovu za vse žonglerje. Skupina Čupakabra je razvila tudi zabavno učenje žongliranja za »team buildinge«, kjer se skupine z žongliranjem in izvirnimi nalogami spoznajo in povežejo. Vsako leto se pos­ vetijo tudi animaciji šolarjev in na prvi šolski dan priredijo pravi cirkuški piknik.

Povezovanje Čupakabrovci izkušnje nabirajo tudi na izobraževanjih in kon­ vencijah v tujini. Letos so se udeležili Evropske žonglerske konvencije v Španiji, kjer so v mednarodni žonglerski druščini izmenjavali izkušnje in se učili novih žonglerskih trikov. Pri­za­ devajo si za večjo veljavo žongliranja na športnem in umet­ niškem področju, zato se povezujejo z drugimi žon­glerskimi društvi po Sloveniji. Letos je potekalo tudi prvo sloven­ sko državno prvenstvo v žongliranju, kjer so skupaj s svojimi tečajniki zasedli najvišja mesta. Žongliranje za vsakogar Člani skupine Čupakabra skrbijo tudi za vse, ki želijo žongliranje bolje spoznati. Na tečajih v Lescah, Kranju, Bohinju in na Jeseni­ cah se žongliranja željni naučijo zanimivih tehnik in načinov manipuliranja s pripomočki, spoznajo pomen skupinskega dela in premikajo meje svojega ravnotežja. Žongliranje želijo približati vsem generacijam, saj se zavedajo, da pozitivno vpli­ va na številne psihofizične sposobnosti, poleg tega pa je pre­ prosto zabavno.

www.cupakabra.si

dren. While they usually use balls, skittle-pins, or diabolos, their shows also include jugglery with burning props, some of which are made especially for them in the Drop In store’s workshop in Lesce – a place to be for all serious jugglers. One of Chupakabra’s innovative approaches shows how jugglery can be efficiently used in ‘team-building’ - they offer workshops for groups, where they use jugglery combined with some other creative tasks to get to know each other and establish relationships. Every year, on the first day of school, they organize a real circus-like picnic and hold different events for school children throughout the year.

Getting Connected Members of Chupakabra have gathered their experience at different conventions and seminars out of Slovenia. This year, they went to Spain to participate at the European Jugglery Convention, share experience and learn new tricks with their fellow jugglers from all around Europe. They want to establish connections with other jugglery groups throughout Slovenia with the aim to solidify and augment the position of jugglery in sports and artistic fields.

This year, at the occasion of the first Slovenian Jugglery Cham­ pionship, the members of Chupakabra placed themselves among the winners, together with many of their disciples.

Jugglery for Everyone The boys from Chupakabra take care of everyone who wants to learn this special art of jugglery. At their workshops in Lesce, Kranj, Bohinj and Jesenice they teach interesting techniques and ways of handling different props, stress the importance of team work and help them to improve their balance and dexte­rity. As they have recognized the numerous positive effects of jugglery as a sport, they want to bring it closer to all generations. It not only improves one’s psycho-physical skills - it is simply a lot of fun!

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Program IN prodaja PLIN www.programin.si 040 13 13 33

Program IN d.o.o., SlovenÄ?eva ulica 125, 1000 Ljubljana Splet: www.programin.si, E-poĹĄta: program@siol.net, Tel.: 040 71 71 77

Sejmi za strokovnjake Professional Trade Shows Organizacija prireditev je neverjetno hitro rastoča panoga, ki zahteva stalno spremljanje tehnoloških, organizacijskih in drugih novosti. Stalnica vseh nosilcev v organizaciji prireditev je torej tudi obiskovanje največjih sejmov s področja prireditvenih tehnologij. V nadaljevanju vam predstavljamo štiri sejme, ki so že sami zase predstavitveni dogodek.

The organization of events has been a fast-growing industry, demanding the continuous monitoring of technological and organizational developments along with current novelties. Therefore, a regular feature for all key people organizing events is attendance to the largest technology trade shows. The following presents four trade shows that themselves serve as a representation of events.

Sejmi / Fairs

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Sejem Showtech 2011 Sejem Showtech že od leta 1984 privablja na berlinsko sejmišče glavne evropske ponudnike odrskih tehnologij in prireditvenih storitev. V lanskem letu se je na sejmu in konferenci predstavilo približno 380 razstavljavcev iz različnih panog. Predstavili so nove proizvode in razvoj obstoječih proizvodov na področju odrov in razsvetljave, avdio in video tehnologije, opremljanja in kostumografije, ter ponudbe za stalna prizorišča in občasne prireditve.

Pomemben del Showtecha je tudi EVENT 3, mrežna platforma, na kateri lahko ponudniki in naročniki marsikaj pridobijo z iz­ menjavo znanj ter kontaktnih podatkov.

Lanski Showtech je obiskalo približno 7.500 obiskovalcev, ki so lahko na 18.000 kvadratnih metrih razstavnih površin pregleda­ li ponudbo skoraj 380 razstavljavcev iz več kot 25 držav.

Od 7. do 9. junija 2011, Messe Berlin www.showtech.de

Showtech 2011 From 1984 ShowTech has been attracting European leading suppliers of stage engeeniring and event services to the Berlin Trade Show. Last year 380 exhibitors from various industries presented themselves at the trade show and conference. The exhibitors pre­ sent not only their latest products but developments of their exis­ ting product range in the stage lighting, audio/video technology, equipment and costumography field, and their supply for permanent venues and occasional events.

An important part of Showtech is ‘EVENT 3’, a network platform, where suppliers and customers can exchange their knowledge and contact information. Approximately 7.500 visitors attended Showtech last year, looking at the products offered by 380 exhibitors from over 25 countries in an exhibition covering 18,000 square metres of ground.

From 7th to 9th June 2011, Messe Berlin, Germany www.showtech.de

Sejem Prolight & Sound 2010 – odkrivanje novih dimenzij!

Prolight & Sound kot vodilni mednarodni sejem združuje tehnologije in usluge na področju prireditev in zabavne indus­ trije in s tem ustvarja največje svetovno srečanje vseh nosilcev s tega področja.

V štirih dneh se frankfurtsko sejmišče spremeni v srečanje raz­ stavljavcev, strokovnih obiskovalcev, posrednikov in profesion­ alnih uporabnikov tehnologije z vsega sveta. Ključni razlogi za uspeh sejma so visoka mednarodna udeležba in pregleden spekter proizvodov in uslug. Za leto 2010 napovedujejo še pestrejše dogajanje in boljši sloves sejma, ki ga bodo za­ znamovale dodatne promocijske aktivnosti.

Od 24. do 27. marca 2010, Frankfurter Messe www.prolight-sound.com

Prolight + Sound 2010 – Discovering New Dimen­ sions!

Prolight+Sound is the leading international trade show uni­ting event for business technologies and services and creates the world’s largest gathering of key people from this field.

Held over four days, the Frankfurt Trade Show location is transformed into a gathering of exhibitors, experts, agents and professional technology users from all over the world. The key reasons for the success of this trade show may be found in the high international participation and a transparent product and service variety. For 2010 an even broader spectrum of events and an enhanced trade show has been announced, this has been marked by additional promotional activities.

From 24th to 27th March 2010, Frankfurter Messe, Germany www.prolight-sound.com

Sejem Plasa 2010 Sejem Plasa je najimenitnejši londonski dogodek za profesio­ nalce s področja osvetlitve, avdio in video tehnologije, odrske­ ga inženiringa in integracije vseh segmentov. V okviru dogod­ ka se London spremeni v pravo demonstracijsko središče, kjer je možno v živo doživeti najnovejše dosežke na področju os­ vetlitve ter avdio in vizualne tehnologije. Plaso namreč sprem­

Plasa Show 2010 Plasa Show is the most prestigeus event in London for professio­ nals from the lighting, audio technology, video technology, stage engineering and systems integration technology industries. ­Within the framework of this event the London venue transforms into a demonstration centre where the latest achievements from the lighting/audio and visual technology fields can be experi-

Sejmi / Fairs

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ljajo koncerti, dogodki v gledališčih, nočnih klubih, seveda po­ leg podjetniških dogodkov, stalnih postavitev in predstavitev ter veliko možnosti za preživljanje prostega časa. Od začetka januarja do 31. marca 2010 se je na spletni strani možno pri­ javiti za brezplačen vstop na dogodek.

Od 12. do 15. septembra 2010, Earls Court Exhibition Centre, London www.plasashow.com Sejem SIB International 2010 Sejem SIB International je edini italijanski razstavni dogodek, ki na sejmišču v Riminiju združuje celotno tržišče tehnologij s področja profesionalne razsvetljave, avdio, video in sistemske integracije. Kot tak predstavlja obvezen dogodek za vse, ki poklicno delujejo na področjih zabavne industrije, postavitve dogodkov ter avdio in video produkcije. SIB združuje področja razsvetljave in zvoka za zabavne dogodke, arhitekturno in in­ stalacijsko razsvetljavo ter opremo gledališč, televizijskih studi­ jev in kinematografov. Tako sejem krepi dolgo trajajočo vodilno vlogo na teh področjih predvsem na račun vzornega sejemske­ ga prostora, kjer se predstavljajo vodilna podjetja iz omenjenih industrijskih panog, poleg tega pa so na SIB-u prisotne tudi akademije, univerze ter narodne in mednarodne ustanove.

Od 18. do 20. aprila 2010, Rimini Fiera, Italija www.sibinternational.it

enced live. The Plasa Show is accompanied by concerts, theatre and night club events, in addition to the corporate events, permanent installations and presentations. There is of course a wide variety of possibilities for spending your free time as well.

From the beginning of January until 31st March 2010, registering for a free ticket to the event is available through their website.

From 12th to 15th September 2010, Earls Court Exhibition Centre, London www.plasashow.com SIB International 2010 SIB International is the only Italian exhibition uniting the fields of pro lighting, audio, video and system integration technology markets. The exhibition presents a must for all professionals from the fields of show business, event organization and audio/ video production. SIB merges the fields of lighting and sound for social events, architectural and installation lighting, theatre, TV studio and cinematography equipment. The trade show consolidates its reputation and leading role in these fields, particulary due to the exemplary exhibition area where leading companies are presented. In addition to business, academies, universities, national and international institutions attend the SIB International exhibition.

From 18th to 20th April 2010, Rimini Fiera, Italy www.sibinternational.it

PRIROCNIK ZA ORGANIZATORJE dogodkov event organizers’ MANUAL

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102 106 110 114 118 124 128 130 132 134

ODRske konstrukcije STAGE constructions ALUMINIJASTE KONSTRUKCIJE ALUMINIUM CONSTRUCTIONS SOTORI IN TRIBUNE TENTS & STANDS OZVOCENJE SOUND SYSTEM VIDEO PRIKAZOVALNIKI VIDEO DISPLAY systems CATERING CATERING LASERSKE PROJEKCIJE LASER PROJECTIONS OGNJEMET FIREWORK SANITARIJE SANITATION VAROVANJE SECURITY

UVODNIK EDITORIAL Useful Knowledge for Experienced and Inexperienced Event Organizers

Organizacija dogodkov še zdaleč ni več tako enostavna, kot je bila v preteklosti. Sodobni dogodek je večplastni projekt, v okviru katerega vzporedno poteka paleta dejavnosti pod­ jetij in posameznikov, ki so strokovnjaki za dogodke, a vsak na svojem področju.

Zato se včasih zgodi, da prihaja do nesporazumov pri defi­ ni­ranju osnovnih pogojev, zahtev in zmožnosti, tako tistih, ki so se odločili dogodku podariti življenje, kot strokovnja­ kov, ki vsak s svojim doprinosom na koncu poskrbijo, da dogodek zaživi v vsej svoji veličini.

Zato vam v okviru revije SLOevent na naslednjih straneh predstavljamo nekaj osnovnih elementov dogodka, neka­tere značilnosti posameznih sodelujočih in nekatere osnovne pogoje, katerim je treba zadostiti, preden boste na prizorišče poslali operativce. Gre za strokovnjake s področja odrov, šo­ torov, luči, zvoka, pogostitev, laserskega ali pirotehničnega spektakla ali na primer s področja sanitarij na dogodku, na kar marsikdaj sploh ne pomislimo, seveda pa je vključena tudi varnost na dogodku, ki mora biti poleg vsebine glav­ na skrb vsakega organizatorja. V pričujočem priročniku so zbrani praktični tehnični napotki, osnovni pogoji dela, obenem pa tudi zmožnosti posameznih ključnih nosilcev z razvejanega in zanimivega področja oživljanja najlepših prireditev.

Organizing events is not as simple as it used to be in the past.

A modern event is a complex project, and requires a range of activities organized by companies and individuals, who are experts in their own fields, and these are required to proceed simultaneously within the framework of an event.

It is for this reason that there are occasionally misunderstan­ dings while defining the basic conditions, demands and capa­ bilities between the one who decided to give life to the event, and the experts with their own contributions to make the event come to life in all its grandeur.

Within the framework of the SLOevent magazine, we present the basic elements of an event, some characteristics of indi­ vidual performers and some of the basic conditions that need to be satisfied prior to sending operatives to the event venue.

Whether it be experts from the field of staging, tents, lighting, sound, catering, laser or pyrotechnic spectacle, or from fields we may not even initially consider such as experts on ap­ propriate toilet facilities for the event. Apart from the main content the event security should be the main concern of every event organizer. In the existing SLOevent manual there have been compiled practical technical directions, basic conditions for work, and at the same time ways to utilize capabilities of individual key people in the complex and interesting fields that give life to the most beautiful events.

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Prirocna vedenja za izkusene in neizkusene organizatorje dogodkov

ODRSKE KONSTRUKCIJE STAGE CONSTRUCTIONS Besedilo/Text: Martin Cvetko, Prozvok, Foto/Photo: Prozvok www.prozvok.com

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Osnovni element prireditve, ki odločilno vpliva na ce­ loten izgled in učinek projekta, so odrske konstrukcije.

Te ponujajo širok manevrski prostor za poigravanje z ve­ likostmi, oblikami in dizajni.

Because of the influence it has on the appearance and effect of a specific project, the stage construction serves as the basic element in all events. If assembled professionally, it facilitates different combinations of size, form and design.

Prav zaradi številnih možnosti se organizatorjem poraja veliko vprašanj o ustrezni postavitvi in zmožnostih odrov, ki jih ponuja tržišče. Svojim gostom želijo poleg prijetne­ ga ambienta zagotoviti varnost in obenem ponuditi nekaj novega in svežega tudi pri odrski postavitvi. V naslednjih vrsticah želimo predstaviti nekaj pomembnih dejstev, ki vam bodo v pomoč pri vašem delu.

Considering the many possibilities of combination the orga­ nizers usually face a challenge in selecting a proper stage. If they want to create a pleasant atmosphere, they have to create a construction that looks fresh and authentic, but also ensures safety. The following information is meant to provide help for your projects.

Pregled terena Pregled terena postavitve odra poteka skupaj z izvajalcem, ki strokovno oceni specifične lastnosti terena, kot so nagib, podlaga in možne ovire. Tako lahko vnaprej predvidimo tudi možne neprijetnosti. Če se bo dogodek denimo od­ vijal na travniku, se lahko teren v primeru slabega vremena začne ugrezati. V takem primeru je treba med travo in nogo odra postaviti podložne plošče. Med odre, ki niso primerni za neravne podlage, štejemo mobilni in škarjasti oder ter klasični gledališki praktikabel.

Ob ogledu terena se oceni tudi ustreznost dostopa, saj la­ hko prav težavnost le-tega podaljša predpripravo terena za vse soustvarjalce dogodka in s tem tudi čas montaže.

Poleg terena in dostopa je v prvem koraku treba določiti še položaj konstrukcij (jih zakoličiti in vnesti v načrt pros­ tora) ter zahtevati ateste, ki vsebujejo vse potrebne statične izračune o varni postavitvi konstrukcije.

Tip prireditve in namen uporabe odra Izvajalci za ustrezno postavitev potrebujejo vse ključne po­ datke o tem, kaj se bo na odru dogajalo. Predvideti je tre­ba,

Na težavnem terenu moramo odrske konstrukcije prilago­ diti terenu.

Uneven ground requres an adjustable stage construction.

Examining the ground The ground on which the stage is to be placed should be exa­ mined by the professionals who will be constructing the stage.

They have to take into consideration some specific characteri­ stics of the ground, such as gradient, groundings and pos­ sible obstacles and thereby avoid possible inconveniences. For exam­ple; if the event is to take place on a meadow, in case of bad weather, the whole construction can start sinking into the ground and therefore requires supporting slabs to be placed between the grass and the stage props. If the ground is uneven, some types of stages such as the mobile or the scissor stage or the theatre platform cannot be used.

While examining the ground we also have to examine the accessibility of the scene; obstacles in access can result in prolongation of ground preparations, as well as in further prolongation of the assembling time. The f irst step includes planning the position of stage constructions (they should be physically marked on the ground and delineated on the project map), and demanding the attestations, which will include all static calculations necessary to guarantee a safe assembling of the stage.

Za večjo varnost je treba poskrbeti za ustrezne ograje, s ka­ terimi zaščitimo oder in stopnice.

Railings should be placed around the stage and staircases to in­ crease safety.

VIŠINA ODRA Če postavljamo oder v notranjih prostorih in za manjšo skupino ljudi, je zadostna višina odra od 0,3 do 0,5 me­ tra. Za zunanje prireditve so odrske konstrukcije višje: za obisk od 200 do 300 ljudi zadostuje en meter in za 1.000 ali 2.000 ljudi 1,5 metra visok oder. Na velikih prizoriščih, kjer pričakujemo nad 2.000 ljudi, mora biti oder visok vsaj 2 metra. Na večjih stadionskih postavitvah, ki jih obišče od 5.000 do 20.000 ljudi, pa postavimo oder, visok nad 2,5 me­ tra. Višino odra izbiramo na podlagi učinka, ki ga želimo doseči. Tako lahko na modnih revijah občinstvo posedemo in ustvarimo primeren učinek z nižjim odrom. Pravilo pri postavljanju odrov je, da se mora izvajalce videti vsaj od pasu navzgor, priporočljivo pa je od kolen navzgor.

Nadgradnja in izgled odra Glede na predvideno uporabo odra določimo tip pohodne površine. Če bo oder namenjen plesni točki, mora biti pohodni podij brez rež, ki bi plesalce lahko ovirale. V pri­m­e­ru slavnost­ nih prireditev navadno na pohodno površino položimo pre­ progo, gledališčniki pa za svoje nadgradnje upo­rabijo še do­ datne iverne plošče. Za prireditve, ki se odvijajo na prostem, je priporočljivo uporabljati protizdrsne vodoodporne plošče, ki zagotovljajo večjo varnost. K izgledu pripomore tudi para­ pet, to je stena oziroma pregrada iz različnih materialov, s katero pokrijemo stranski del odrske konstrukcije. Parapet je lahko iz plošč ali blaga, ki omogoča raznovrstne vizualne učinke. Trd parapet je priporočljiv zaradi ustvarjanja lepše forme, na njem pa je tudi lažje narediti zaključke z alumi­ nijastimi letvami. Različni nameni uporabe odra zahtevajo tudi različne dodatke, kot so luknja za šepetalko ali za dim.

Govorniki pred odrom potrebujejo dodaten prostor za na­ mestitev zaslona z besedilom, za baletne predstave pa je treba namestiti absorbske plošče, ki absorbirajo tresljaje plesalcev. Čas montaže in demontaže Montažo in demontažo konstrukcij je najprimerneje izvajati ob dnevni svetlobi, saj je v nočnih urah to delo lahko zelo ne­ varno. V primeru, da je nočna montaža neizogibna, je nujno

A different stage for a different event Professionals constructing the stage should have at their dis­ posal all the key information in regard to the use of the stage in construction. Estimations should be made about the number of people and the type of program, but they also have to know if the program will be static or dynamic etc. Information about the total weight is also very important, because over-average weights demand additional static calculations to determine the sub-constructional demands and the size of the walking surface. The sub-construction, which is usually made of steel or aluminum, is composed of different modules of specific di­ mensions adjustable in height which facilitates the assembling and disassembling. In case of heavy weight, for example that of a car the sub-construction needs to be reinforced and the walking surface multilayered, in order to reach the appropri­ ate bearing capacity.

For indoor events, the use of modern platforms not only looks better, but also proves to be more practical. Outdoors, where the ground is usually uneven and other conditions more com­ plex, the stage construction should be easy to assemble and as adjustable as possible. Scissor stages are the best solution for smaller events, in case the ground is even.

STAGE HEIGHT If the stage is to be assembled indoors and is meant for a smal­ ler group of people, the height of 0.3 to 0.5 meters should be sufficient. Outdoor events demand higher constructions; for 200 – 300 visitors the stage should be 1 meter high, while for 1.000 – 2.000 visitors 1.5 meters would be enough. Big events that are to host more than 2000 people need a high stage of at least 2 meters. For concerts and similar events at stadiums where 5.000 to 20.000 people are expected, we have to build a stage more than 2.5 meters high. The height of a stage is based on the impression or effect that we want to achieve. For ex­ ample, at a fashion show the audience can remain seated and therefore the stage can be low. A stage should always be set in a way to allow the person(s) on it to be seen from waist up, if not from the knees up.

Further constructions and overall appearance According to the future use of the stage we have to choose the right type of walking surface. A dance performance demands a rift-free surface to exclude the possibility of disturbing the dancers. For more solemn occasions the walking surface is covered by a carpet, while theatre performances demand ex­ tra chipboards to be placed over the original construction. To increase safety at all outdoor events, slip and water-resistant panels prove to be very useful. Parapet, a wall or partition made from different materials (different types of boards, fab­ ric etc.) in order to block the view to the sides of the stage, improves the overall appearance and gives it a more elegant touch. Hard parapet creates a nicer form and facilitates the use of aluminum endings. For certain types of events, the stages require some extra accessories, like a hole for the prompter, smoke or fog exits, text-screens for the speakers etc. For bal­ let dance performances absorption panels are placed over the walking surface to absorb vibrations caused by the movement of the dancers.

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koliko ljudi bo na odru, kakšen bo program, ali bo dogaja­ nje statično ali dinamično in podobno. Eden od po­mem­ bnej­ših je tudi podatek o obremenitvah na odru. V prime­ ru nadpovpre­čnih obremenitev je treba izvesti dodatne statične kalkulacije, ki točno določijo, kakšna mora biti podkonstrukcija odra ter kako močna mora biti pohodna površina. Podkonstrukcijo, ki je največkrat jeklena ali alu­ minijasta, sestavljajo različni moduli določenih dimenzij, ki so prilagodljivi tudi po višini, zaradi svoje modularne zas­ nove pa so tako prireditveni odri preprosti za montažo in demontažo.

V primeru večje teže, kot je na primer avtomobil, je treba ojačati podkonstrukcijo, pohodno površino pa dodatno pre­ plastiti, saj le tako dosežemo potrebno nosilnost objekta. Za notranje prireditve so tako zaradi izgleda kot tudi uporabnosti ustreznejši sodobni praktikabli, za zunanje, kjer je več neznank in je običajno teren težavnejši, pa je pomembno predvsem to, da se odrska konstrukcija čim bolj prilagodi terenu ter da je preprosta za montažo. Pri manjših postavitvah na ravnih tleh so najbolj uporabni in najučinkoviteljši škarjasti odri.

postaviti razsvetljavo na štirih točkah delovišča. Ko je oder postavljen, ga je treba tudi ozemljiti, označiti izhodna mesta, poskrbeti za ustrezno osvetlitev stopnišč ter z belim trakom označiti mejo približno pol metra od roba odra. V primerih, ko je oder zelo visok, je zaradi varnosti priporočljivo narediti lovilni podest, ki je 80 centimetrov nižje od roba odra in za­ gotavlja večjo varnost, hkrati pa se ga lahko uporabja tudi za kamere. Ko je oder zgrajen, morajo izvajalec, organizator in varnostni inženir pregledati, ali je narejen varno in po načrtu.

Za večjo varnost je treba poskrbeti tudi za ustrezne ograje, s katerimi zaščitimo oder in stopnice. Vsak oder, višji od enega metra, mora imeti namreč ograjo, ki prenese 30kg/m obre­ menitve za odre, kjer je dostop omejen, in 300kg/m za odre, ki so dostopni za publiko. V primeru, da organizator na pri­ reditvenem odru ne želi ograje, mora podpisati izjavo, da pre­ vzema vso odgovornost za možne situacije, do katerih bi la­ hko prišlo zaradi odsotnosti ograj. Prav tako je priporočljivo, da se okoli odra postavi usmerjevalno ograjo z označevalnimi tablami, ki nepooblaščenim osebam preprečuje dostop.

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Izbira pravega izvajalca Organizator mora svojega podizvajalca - strokovnjaka za odre - seznaniti s terenom, dostopom, želenim tipom odra in predvidenim številom obiskovalcev, zato da lahko iz­ pelje projekt v okviru določenega finančnega načrta in se tako izogne neprijetnim presenečenjem glede izdatkov za dogodek. Pomembno pa je poudariti, da pri izbiri izvajalca ni merilo zgolj cena, ampak tudi kakovost izvedbe, usposo­ bljenost izvajalca in njegove ekipe, ki mora delovati po var­ nostnih predpisih, njegova ustrezna pravno-formalna do­ kumentacija o delovanju (obrtno dovoljenje za postavljanje montažnih odrov, statična dokumentacija konstrukcij), ter dokazilo, da postavlja atestirane konstrukcije.

Vrste odrov Slovar slovenskega knjižnega jezika definira oder kot: - zvišan prostor, navadno iz desk; - proti gledalcem odprt vzvišen prostor v gledališču, kon­ certni dvorani; - konstrukcijo iz lesenih ali kovinskih elementov.

Danes so odri različnih oblik, velikosti in dizajnov in jih največkrat uporabljamo za javne prireditve. Poleg klasičnega odra ali gledališkega praktikabla (praktikabel

Klasični oder oziroma gledališki praktikabel / Practicable stage

Assembling and disassembling time Assembling and disassembling of a stage should be, if possible, carried out in the daylight to avoid all possible dangers that exists if carried out at night. In case the assembling can only be done at nighttime, proper lighting should be placed in all four corners of the construction site. Once the stage construc­ tion is built it should be properly earthed. We should also mark the exits, place lighting on the staircases as well as mark the borders approximately half a meter away from the stage with white tape. If the stage is considerably high, it is preferable to build a grappling platform some 80 cm below the stage. This will not only increase safety, but also allow some space to fix the cameras. Once the stage is build it should be carefully ex­ amined by the constructor, the organizer and a safety engineer.

To increase safety suitable railings should be placed around the stage and staircases alike. All stages exceeding the height of 1 meter should be surrounded by a fence which can bear a load of 300 kg / m in case the access to the stage is limited. In case of public access, the load requirements increase to 3000 kg/m. If the organizer desires a stage without a fence, he will have to sign a statement by which he will assume responsibility for all possible dangerous situations created by its absence. It is also recommended that another set of railings with information panels is placed around the stage to control the fluctuation of people and prevent unauthorized access.

Choosing the right constructor In order to skillfully prepare the project without transgre­ssing budget limitations, as well as to avoid possible unpleasant situations concerning finances, the chosen constructor should be well informed about the ground, accessibility, number of visitors expected and the desired type of the stage. Nevertheless, the price should not be the only consideration when choosing the right constructor. The quality of his work, his team’s ex­ pertise and the safety precautions are of highest importance. A professional constructor should be able to present, upon request, all certified legal and formal documentation, such as a trade license for constructing stages as well as static documentation and attestation certificates for all constructions.

Different stage-t ypes SSKJ, the Slovenian Dictionary of Written Language defines the word »stage« as:

Oder conavi / Conavi stage

Kakovosten oder mora: - biti v okviru mednarodnih standardov, - imeti statične izračune, - imeti več izjemnih varnostnih karakteristik, - imeti čim bolj fleksibilno spajanje ter močne spoje, - imeti čim manj sestavnih delov, s čimer privarčujemo pri skladiščenju in prevozu, - omogočati fleksibilnost postavljanja podkonstrukcije v ­vseh­ smereh, - ponujati možnost gradnje na velikih naklonih ter omo­ go­čati, da s sistemom enostavno premostimo oviro in po­ hodno ploščo poravnamo, - zagotavljati togost, ki preprečuje dinamičnim silam, da bi konstrukcija zanihala.

Standardi Pri odrih, ki spadajo med začasne konstrukcije, velja sloven­ ski standard SIST EN 13782:2006 (prevzet po evropskem standardu EN 13782). Ta določa vertikalno obremenitev v primeru splošno-javnega dostopa za stopnice, piste, pod in klančine: ρ= 3,5kN/m2 (350 kg/m2), za dvignjene odre in ploščadi, kjer je večje število ljudi pa ρ= 5,0kN/m2 (500kg/ m2). Standard vključuje pravilo obremenitve za prostore, ki niso odprti za javni dostop. Za stopnišča, modne piste, platforme in podobno, po katerih se največkrat sprehaja le ena oseba naenkrat, je dovoljena obremenitev ρ= 1,5kN/m2.

Podoben je tudi britanski standard BS6399, ki določa, da morajo fiksni (statični) odri prenesti obremenitev 7,5kN/ m2, začasne montažne strukture pa 5kN/m2. Pri horizon­ talni obremenitvi standard določa 10 odstotkov vertikalne obremenitve.

Škarjasti oder / Scissor stage

- a raised platform, usually composed of planks or boards - a raised theatre or concert hall platform open to the spectators - a construction composed of wooden or metal elements Contemporary stages are mostly used for public performances and vary in size, shape and design. Besides the classic stage or theater platform (which can be defined as a folding element for assembling a stage or a platform), scissor stages, contempo­ rary stage platforms, truss constructions or scaffoldings are also very common, while carpentered wooden stages are sometimes seen at public festivities or garden parties.

A high-qualit y stage has to: - meet all the requirements of international standards - be statically calculated - posses several exceptional safety characteristics - have very strong and highly flexible connections - have as little elements as possible in order to facilitate trans­ port and storage - allow flexible assembling of sub-constructions in all direc­ tions - allow construction on the slope and facilitate bridging ob­ stacles in order to level the walking surface - ensure rigidity to prevent the dynamic forces to oscillate the construction

Standards All temporary stage constructions are subject to the Slovenian standard SIST EN 13782:2006 (based on the European standard EN 13782), which prescribes, in case of public access, a vertical load of ρ= 3,5kN/m2 (350 kg/m2) for staircases, cat­ walks, floor and slopes and ρ= 5,0kN/m2 (500kg/m2) for all raised platforms where the number of people is higher. In cases where access to the stage-area is limited and in case when staircases, catwalks, platforms etc. are intended for only one person at a time, the prescribed load is ρ= 1,5kN/m2 . Simi­ larly, the British standard BS6399 sets a load of 7,5kN/m2 for fixed (static) stages and 5kN/m2 for temporary assembled constructions, while horizontal load should comprise 10 % of the vertical load.

Oderski sistem z Layher palično podkonstrukcijo / Stage system with Layher scaffolding supporting construction

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lahko definiramo kot zložljiv element za sestavo odra), poznamo še škarjaste odre, novodobne odrske praktikable, palične konstrukcije na osnovi gradbenega odra oziroma »scaffoldinge«, včasih pa naletimo tudi na tesarsko izdelane odre, največkrat na veselicah. Vse te konstrukcije spadajo v skupino začasnih odrskih konstrukcij.

Aluminijaste konstrukcije aluminium constructions Besedilo/Text: Mitja Zupančič, Martin Cvetko, Prozvok, Foto/Photo: Prozvok www.prozvok.com Aluminijaste prireditvene konstrukcije so se začele upo­ rabljati konec sedemdesetih let 20. stoletja. Pred tem so bile v uporabi najrazličnejše rešitve, predvsem težka jeklena paličja, ki so omogočala potrebne razpone in obešanje lučne tehnike, scenskih elementov in drugih obremenitev konstrukcije.

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Po sedemdesetih letih so strokovnjaki v zabavni industriji začeli iskati novo rešitev iz lahkega materiala, ki bi zagota­ vljala velike razpone, obenem pa bi bili konstrukcijski ele­ menti primerni za transport. Iz gradbeništva so prevzeli zasnovo scaffoldinga in jeklenih mostovnih konstrukcij, ki so ju uporabili kot osnovo za izdelavo aluminijastega paličnega nosilca (ang. truss), kot ga poznamo danes.

Osnovni načini spajanja aluminijastih paličnih nosilcev

Aluminijasti palični nosilec / Aluminium truss Nosilci so največkrat dobavljivi v dolžini enega, dveh ali treh metrov. Kjer mora biti razpon večji, je treba te elemente ses­ taviti na čim bolj preprost in varen način. Najpogosteje gre za: - spajanje z vijaki, - cev v cevi, ki sta povezani z vijaki, - čeljustno povezavo, - spajanje s konusi.

Obremenitev aluminijastega nosilca Točkovna obremenitev je obremenitev na določeni točki na nosilcu. Najslabša možna izbira točkovne obremenitve je na sredini med dvema stebroma. (slika 6) Distribuirana (enako razporejena) obremenitev pomeni, da je teža enakomerno razporejena po vsej dolžini nosilca.

Dober primer je zavesa, ki je navezana na nosilec z enako razdaljo med prijemali, ali pa dolžinsko enako razporejeni­ mi moving headi (premakljivimi glavami).

Aluminium constructions for events came into use at the end of the 1970s. Before, different other equipment was used, in particular heavy steel trusses that enabled necessary spans and could carry the lighting gantry, scene and other construction elements.

In the 1970s, experts in the entertainment industry started to look for a new solution to be built of lighter material that would ensure big spans and at the same time be suitable for transport.

They adopted scaffolding and steel bridge construction from civil engineering and used it as basis to build the aluminium truss we know today.

Basic methods of connecting aluminium girder trusses Girders are usually supplied in the length of one, two or three meters. Where the span has to be bigger, the elements should be connected as simple and safe as possible. The usual connectors are: - fasting with screws, - tube in tube fastened with screws, - jaw connectors, - conical connectors.

Load bearing Single-point loading is loading on a specific point of the girder.

The worst choice of single-point loading is in the middle be­ tween two columns.

Distributed loading means that the load is equally distributed along the girder. Good examples are curtains that are hung to the curtain track in an equal distance between the brackets or between the moving heads (rings).

Multi-point loading ocurrs when there are several point ­load­ings along the girder. Information provided by the producer always states how many point loadings count as multi-point loading. Usually it ranges from two to four; more point loadings qualify already as distributed loading.

Concentrated loading distributes loading on one part of the girder. In this case, the easiest and safest way is to look at the load as single-point loading in the middle of the concentrated loading; thus we see if the load is within the limits provided in the producer’s table. This kind of load is a heavy loading for the grinder.

Load bearing capacit y and girder span The distance between two points is defined by the producer, which may be found in the tables. Fact is, that the longer the girder, the smaller is its load bearing capacity. And if, out of carelessness, we hang a too heavy load on it, it may break. The girder’s span can be longer, if it hangs free in the air, but it has

to be fastened at several points. Usually we use motors that we fasten to the hall’s roof construction. If we add more motors, the load bearing capacity is higher, as consequently the distance be­ tween two points is being reduced.

Nekaj varnostnih priporočil pri uporabi aluminijastih konstrukcij - Aluminijasta konstrukcija mora biti zaradi luči in drugih električnih naprav vedno ozemljena, kar lahko opravi le us­ posobljen električar.

- Konstrukcije na dveh stebrih oziroma portale (ang. ramp) vedno postavljamo s stabilizatorji, za zunanjo uporabo pa je portal treba pred učinkom vetra vedno zavarovati z obtežitvenimi balasti.

- Obremenitev stebra in nosilca ne sme biti nikoli večja od vrednosti v proizvajalčevih tabelah.

- Tla, dvoranski pod ali oder, na katerih stojijo stebri alumi­ nijaste konstrukcije, morajo prenesti težo celotne konstruk­ cije z vso dodatno opremo, sicer se lahko porušijo.

- Vse viseče konstrukcije morajo imeti narejeno sekundar­ no varovanje oziroma sekundarno vpenjanje. V ta namen se uporabljajo predvsem jeklenice ter neskončni povezovalni trakovi z jedrom iz jeklenic in verige.

- Nepooblaščenim osebam je treba preprečiti dostop do konstrukcije. Po njej lahko pleza le usposobljena oseba, ki

Some securit y recommendations when using aluminium constructions - Due to lighting and othter electrical devices, aluminium con­ structions always have to be earthed, which can be done only by a competent electrician.

- Constructions on two columns – ramps – should always be built with stabilisers, and for external use, the ramps have to be protected against wind with burdens.

- The column and the girder must never be loaded more than stated in the producer’s tables.

- The floor of the hall, or the stage, on which the aluminium construction columns stand, has to bear the weight of the en­ tire construction with additional equipment; otherwise it may break down.

- Every hanging construction must have secondary protection or secondary fastening. Usually wire ropes and connection strips with a core of wire ropes and chains are used.

- Not authorised persons should have no admittance to the con­ struction. Only qualified persons with an adequate climbing and safety at work course using corresponding climbing equip­ ment are allowed to climb the construction. Not even the orga­ niser should climb the construction.

- It is recommended that the construction should be enclosed with safety fences.

- Not authorised persons should not physically interfere in the construction.

- If the organisers wish to hang up advertising banners and additional curtains, they have to inform the operator already in the planning phase, as banners are like sails, which, in com­ bination with wind, may cause the object to collapse. The use of banners and curtains has to be taken into account in the static load of the temporary object.

- Slovenia is located in a higher wind class area, therefore the construction always has to be loaded and anchored. There are different ways of anchoring; in Slovenia usually concrete weights and ballast water are used.

- During winter, attention should be paid to the effects of snow, which can cause overload, especially when snow is mixed with water. If the construction is already on the limit of overload (due to lighting gantry and sound equipment), the team has to

Točkovna obremenitev / Single-point loading

Distribuirana obremenitev / Distributed loading

Multitočkovna obremenitev / Multi-point loading

Koncentrirana obremenitev / Concentrated loading

Za koncentrirano obremenitev gre v primerih, ko je teža distribuirana na en del nosilca. V tem primeru je najlažje in najvarnejše, če težo gledamo kot enotočkovno obre­ menitev v sredini koncentrirane teže, in tako vidimo, ali je obremenitev v mejah, ki jih po tabeli dovoljuje proizvajalec.

Takšna teža močno obremenjuje tudi sam nosilec.

Nosilnost in razpon nosilcev Razdaljo med dvema točkama določi proizvajalec, podatke pa najdemo v tabelah. Dejstvo je, da daljši kot je nosilec, manjša je njegova nosilnost, in če iz neprevidnosti nanj obesimo pretežko breme, se lahko zlomi. Razpon nosilca je lahko daljši, če prosto visi v zraku, vendar mora biti vpet na več točkah. Največkrat za to uporabimo motorje, ki jih vpnemo na strešno konstrukcijo dvorane. Če dodamo več motorjev, je tudi nosilnost večja, ker se posledično razdalja med dvema točkama krajša.

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Multitočkovna obremenitev nastane, ko je več obre­ menilnih točk razporejenih po vsej dolžini nosilca. V proizvajalčevi tabeli je vedno označeno, koliko obremenit­ venih točk velja za multitočkovno obešanje. Običajno je to od dveh do štirih, več obremenitvenih točk pa že predstavlja distribuirano obremenitev.

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ima opravljen ustrezni plezalni tečaj in tečaj varstva pri delu ter uporablja ustrezno plezalno opremo. Tudi organizator ne sme plezati po konstrukciji.

- Konstrukcijo je priporočljivo ograditi z varnostnimi ogra­ jami.

- Nepooblaščena oseba ne sme fizično posegati v konstruk­ cijo.

- V primeru, da želi organizator na konstrukcijo obesiti pro­ pagandne transparente in dodatne zavese, mora to izvajalcu povedati že v fazi načrtovanja, saj transparenti delujejo kot jadro, ki lahko v kombinaciji z vetrom povzroči porušitev objekta. Uporabo transparentov in zaves je treba upoštevati pri statičnih obremenitvah začasnega objekta.

- Slovenija je v območju višjega vetrovnega razreda, zato je konstrukcijo vedno treba obtežiti in zasidrati. Obstaja ve­ liko različnih načinov sidranja, od katerih se pri nas največ uporabljajo betonske uteži in vodni balasti.

- V zimskem času je treba paziti na učinke snega, ki lahko povzroči preobremenitve na konstrukciji, predvsem kadar je sneg pomešan z vodo. Ekipa mora biti zelo pozorna, kajti še posebno, če je konstrukcija že sama po sebi na meji preo­ bremenitve (zaradi lučne in zvočne tehnike), je teža lahko v trenutku prevelika. Zato je nujno sproti čistiti sneg s kon­ strukcije.

- Od izvajalca del moramo pridobiti ateste proizvajalca in statična poročila konstrukcij, ki so v skladu z evropsko zakonodajo. Ustreznost dokumentacije preverimo tudi na terenu oz. na sami konstrukciji.

be very careful, as the load can be easily too heavy. Therefore it is necessary to continually clean the snow off the construction.

- The operator has to provide an attestation by the producer and static reports in accordance with European legislation. The documentation’s suitability should be checked also in the field or on the construction itself.

Some examples of aluminium constructions:

Portal na dveh stebrih / Ramp

Nekaj primerov uporabe aluminjastih konstrukcij: Enokapna koncertna streha / Flat concert roof

Okvir na štirih stebrih / Ring

Koncertna streha - tunel / Tunnel concert roof

Dvokapna koncertna streha s krili za zvočnike / Gable concert roof with speaker mounts

Dvokapna koncertna streha Libera / Gable roof Libera

Polkrožna koncertna streha - Alusfera / Half dome concert roof – Alusfera

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Ambientalna streha - Alusfera Ambient / Ambiental dome concert roof – Alusfera Ambient

SOTORI IN TRIBUNE tents & stands Besedilo/Text: Eva Roškerič, Expo biro, Foto/Photo: Expo biro www.expobiro.si

Zadovoljstvo in varnost gostov je vedno na vrhu prioritet, pa naj gre za dogodek za poslovne partnerje, odmeven sprejem ali prireditev, obletnico ali razvojno pridobitev.

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Ne glede na priložnost, namen ali dogodek, je izbira pri­ mernega prostora bistvenega pomena. Prireditveni šotori zagotavljajo mobilnost, privlačnost, prilagodljivost in raz­ po­­lož­ljivost ob vsakem času, za vsak prostor.

Različne prireditve zahtevajo različne šotore Šotori in montažne dvorane so prilagodljivi sistemi, ki jih po dogovoru z naročnikom lahko prilagajamo s prostonosilnimi stranicami širine od 3 do 40 metrov, poljubnimi dolžinami v rastru 3 oziroma 5 metrov ter stranskimi višinami od 2,39 do 4 metrov. Šotore in montažne dvorane odlikuje hitra montaža in demontaža, zato so praktični in vsestransko up­ orabni za športne, kulturne in VIP prireditve, hišne sejme, osebna praznovanja, vrtne zabave in podobno, saj s svojo prilagodljivostjo predstavljajo več kot le streho nad glavo.

Celovitost ponudbe z dodatno opremo Vsak šotor ali montažna dvorana potrebuje za polno funk­ cionalnost še dodatno opremo, kamor spadajo: - modularni lesen podij, ki predstavlja pomemben faktor, ko šotor postavljamo na neraven teren, kjer bi v primeru dežja voda podtekala in povzročila razmočenost tal. Na po­ dij položimo ustrezne talne obloge, - dekoracija šotora, ki je lahko stenska in/ali stropna, od­ visno od vrste prireditve in želja naročnika, - notranja oprema prostora, ki vključuje mize, stole, oder, plesišče, omizja za strežbo, servisni prostor za catering in drugo opremo, - prezračevanje, - ogrevanje, ki je potrebno pozimi ter v hladnih dneh pom­ ladi in jeseni. Pozimi poleg ustvarjanja ugodne klime za lju­ di v šotoru ogrevanje skrbi tudi za topljenje snega v primeru padavin. Ker prireditveni šotori nimajo nosilnosti, bi lahko zaradi teže snega prišlo do porušitve, - hlajenje s klimatsko napravo, ki je potrebno v pomlad­ nih in poletnih mesecih, saj se šotor zaradi slabe toplotne izolacije ogreje. Klimatizacija je še posebno pomembna v primeru, ko je v šotoru veliko ljudi, - električne in vodovodne instalacije.

The satisfaction and safety of guests is always one of the top priorities when it comes to events for business partners, highprofile receptions or events, anniversaries or development acquisitions.

Regardless of the occasion, intention or event, the choice of an adequate space is of key importance. Event tents ensure mobil­ ity, attractiveness, adaptability and availability at any time for any space.

Different events require different tents Tents and prefabricated halls are flexible systems that can, in agreement with the customer, be adapted with freestanding support sides with a width of 3 to 40 metres, optional length with a bay distance of 3 or 5 metres and a side height from 2.39 to 4 metres. Tents and prefabricated halls can be quickly installed and dismantled, therefore they are practical and mul­ tifunctional for sports, cultural and VIP events, home fairs, per­ sonal celebrations, garden parties and much more, since, with their adaptability, they are more than just a roof over one’s head.

Additional interior equipment For full functionality, every tent or prefabricated hall needs in­ terior equipment, which includes: - modular wood flooring, which is important when the tent has to be set up on an uneven terrain where in case of rainfall water could underflow the tent making the tent wet inside; the floor­ ing should be then covered with appropriate carpeting, - interior tent decoration, either ceiling or wall decoration, de­ pending on the type of the event and the customer’s wishes, - furniture, including tables, chairs, a stage, dance floor, serving tables, catering space and other furniture, - ventilation, - heating is necessary in winter and chilly spring and autumn days; besides creating a pleasant climate in winter for all the people in the tent, heating also melts the snow in case of snow­ ing; since event tents do not have any bearing capacity, the snow weight could make the tent collapse, - air-conditioning is necessary in spring and summer, since the tent warms up quickly due to weak isolation; air-conditioning is particularly important when there are a lot of people in the tent, - electricity and water supply systems.

Velikost šotora Poročne in osebne svečanosti, poslovni dogodki in VIP prireditve zavzamejo več prostora in večji šotor, saj pros­ tor opre­mimo s stoli in z banketnimi mizami, ki so lahko okrogle ali oglate oblike. Takšna postavitev zavzame več prostora kot postavitev z zložljivimi gasilskimi garniturami ali visokimi barskimi mizicami.

Primer izračuna velikosti šotora za poročno svečanost Velikost mize je 98 x 196 centimetrov (premer 160 centi­ metrov), ob vsaki mizi je 8 sedišč. Število povabljencev de­ limo s številom sedišč ob banketni mizi (za 80 povabljenih torej potrebujemo 10 miz). Zaradi različnih možnosti postavitev (U postavitev ali cik-cak postavitev pri okrog­ lih mizah) dodamo dobljenemu številu še dve mizi zaradi morebitnih združevanj več miz.

Osnovni količnik izrabe prostora za banketna omizja je 1,4 kvadratnega metra na osebo (v primeru, da mize zajema­ jo celotno površino šotora), kar pomeni, da za 80 gostov potrebujemo 112 kvadratnih metrov površine, ki ji je treba prišteti še dodatne površine: - plesišče: 36 kvadratnih metrov - oder za nastopajoče: 12 kvadratnih metrov (3 x 4m oziro­ ma odvisno od potreb in želja) - velikost servisnega prostora za catering: 25 kvadratnih metrov (kot ograjen prostor ali šotor - pagoda) Skupna potrebna površina je torej 185 kvadratnih metrov. Če to površino delimo s številom gostov (80), dobimo količnik izračuna velikosti šotora za poroke in VIP do­ godke, ki znaša 2,3 metra na osebo.

Ob postavljanju prireditvenega šotora ne smemo pozabiti na: - informacije o lokaciji, - ogled terena, - načrt komunalnih in instalacijskih vodov, - temeljenje z 80 do 100 centimetrov dolgimi klini ali bet­ onskimi obtežilnimi ploščami, - dostop s tovornjaki na mikrolokacijo, - zavetrovanje, - ogrevanje in klimatizacijo, - varovanje šotorov v času montaže, najema in demontaže.

Prefabricated stands for spectators Every sports or cultural event, if it is organised inside or out­ side, usually requires a stand for spectators. There are different stands, simple small ones or demanding big ones that offer an optimum individual solution. For higher security and the cus­ tomer’s carelessness, professional operators ensure the necessary documentation, attestations and static calculations. Experts provide consultation, prepare computer calculations and plans, while precise and experienced expert fitters ensure a qualitative implementation of the projects.

The stands for spectators are equipped with ergonomically de­ signed plastic chairs with back support, with shell seats without back support or with waterproof benches.

Tent size For weddings and personal celebrations, business occasions and VIP events more space and therefore a bigger tent is needed, since it is furnished with chairs and round or square banquet tables. Such a placing takes more space than a placing of foldable picnic tables or high bar tables.

Sample calculation for a tent needed for a wedding The size of the table is 98 x 196 cm or 160 cm in diameter with 8 seats at each table. The number of guests has to be divided with the number of seats at each table (for 80 guests we need 10 tables). For the U-shape of table arrangement as well as the zigzag arrangement of round tables two additional tables are necessary due to an eventual combining of tables.

The basic quotient for the calculation of the space needed for banquet tables is 1.40 m²/person (if the tables take the entire tent space), which means that for 80 guests we need an area of 112 m² plus additional space for: - the dance floor: 36 m² - the stage for performers: 12 m² (3 x 4 m or as requested) - the space for catering service: 25 m² (either fenced or in a pa­ goda tent) The total of the necessary space is thus 185 m². If we divide this with the number of guests (80), we get the quotient for the calculation of the tent size needed for weddings and VIP events, which is 2.30 m²/ person When setting up an event tent we Should not forget about: - the information on the location, - the site visit, - the communal and service duct plan, - the foundation with 80 to 100 cm long cotters or concrete ­loading slabs, - lorry access to the microlocation, - lee, - heating and air-conditioning, - tent protection during installation, lease and dismantling.

111 PRIROCNIK / MANUAL

Montažne tribune Na vsaki športni ali kulturni prireditvi, naj poteka v hali ali na prostem, običajno potrebujemo tudi tribuno.

Poznamo različne, od preprostih majhnih, pa vse do zahtevih velikih tribun, ki ponujajo optimalno in indi­ vidualno rešitev problema. Za večjo varnost in brezskrb­ nost naročnika strokovni izvajalci zagotavljajo tehnično dokumentacijo, ateste in statične izračune. Strokovnjaki nam lahko svetujejo, pripravijo računalniške izračune in načrte, natančni in izkušeni monterji pa zagotovijo kvalitetno izvedbo projektov.

Tribune so opremljene z ergonomsko oblikovanimi plasti­ čni­mi sedeži z naslonom, s školjkastimi sedeži brez naslona ali z vodoodpornimi klopmi.

IzraÄ?un velikosti ĹĄotora PriporoÄ?amo, da ne pozabite upoĹĄtevati nekaj prostora za plesiĹĄÄ?e, oder (odvisen od ĹĄtevila izvajalcev in njihove op­ reme), pripravljalne prostore in izhodne poti.

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Tent size calculation It is recommendable not to forget to calculate some space for the dance floor, stage (depending on the number of performers and their equipment), preparation space and exits.

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NEKAJ PRIMEROV:

ozvocenje SOUND SYSTEM Besedilo/Text: Miha Arnuš - Arni, načrtovalec zvočnih sistemov / Sound System Planner, Festival Novo Mesto www.festivalnm.si

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Z uporabo novih oblik zvočnikov in drugačnim pri­ stopom je ozvočevanje velikih prireditev postala prava znanost v malem. Pri tem imamo v mislih predvsem pos­ tavitve večjega števila zvočnikov in uskladitve med njimi.

Since the introduction of new type speakers and access to them, sound systems at large events have turned into a ­science of its own, especially as regards setting up larger numbers of speakers and coordinating their performance.

Vsak zvočnik predstavlja izvor valovanja in s kombinacijo več izvorov pride do medsebojnega vpliva med različnimi valovanji. Preprost primer sta dva kamna, ki ju istočasno vržemo v vodo. Nastali valovi zanimivo vplivajo drug na drugega – dva koncentrična vala se srečata in valovanja se odštevajo in seštevajo. Podobno se dogaja pri kombiniranju več zvočnikov: zvočna valovanja se seštevajo in odštevajo.

Kako torej znanost izkoristimo v svoj prid?

A loudspeaker represents a wave source and the combination of more such sources creates a reciprocal influence amongst these waves. A simple example that illustrates this are two stones that are thrown into water at the same time. The incurred waves influence one ­another in an interesting way – two concentric waves meet and thus reduce and increase. Something similar happens when combining more speakers: sound waves again reduce and increase.

The question arises here of how to use this science in our favour.

Najbolj opazno pri nizkih tonih Pri ozvočenju ta pojav najbolje opazimo pri nizkih frek­ vencah, ki jih sevajo nizkotonski zvočniki. Oglejmo si am­ plitudno značilnost »nizkotonca« pri frekvenci 63 Hz v ravnini (slika 1). Vidimo, da amplituda pada enakomerno z oddaljenostjo (spreminjanje barv).

Pri uporabi dveh izvorov zaradi vplivanja med valovanji pride do seštevanja oz. odštevanja na različnih mestih v ravnini (slika 2).

To v bistvu pomeni, da poslušalci, ki stojijo v modro označenem delu, ne bodo slišali frekvence 63 Hz, ki pona­ vadi zaznamuje udarec bas bobna. Seveda se bodo ob med­ sebojnem vplivu več valovanj vselej pojavila mesta, kjer se valovanja seštevajo ali odštevajo.

Most noticable in low sounds This occurence is most noticable at low frequencies that are emitted by low-sound speakers. Let us take a look at the amplitude of a »lowsound speaker« at the frequency of 63 Hz in a plane (image 1). We see that the amplitude decreases equally with distance (change of colour).

The influence among waves at using two sources causes increases and reductions in different points of a plane (image 2).

In reality this means that the listeners who are standing in the blue area will not hear the 63 Hz frequency that usually marks the beat of a bas drum. Clearly, any reciprocally influenced waves will create areas where waves increase and reduce.

Usmerjanje zvoka Odštevanje ni vedno slabo, v svoj prid ga lahko izkoristimo, kadar hočemo valovanje usmeriti. Usmerjenost zvoka bo z odra odstranila odvečen hrup ter zvok usmerila v občinstvo.

Pri nizkotonskih zvočnikih lahko uporabimo več metod za usmerjanje valovanja, vedno pa za usmerjanje potrebujemo več izvorov, ki vplivajo med seboj. Slika prikazuje preprost primer treh nizkotonskih zvočnikov, ki s pravilno usmeritvijo in časovnim zamikom valovanja ustvarijo tako imenovano ledvično karakteristiko. To tehniko uporabljamo predvsem v dvoranah in za ozvočitev klasične glasbe, kjer bi radi raven hrupa pri orkestru čim bolj zmanjšali (slika 3).

Visoke tone usmerimo s prepreko Seveda nas ne zanimajo zgolj nizkotonski zvočniki in frekvence, nižje od 100 Hz, temveč bi radi med občinstvo čim bolj enakomerno porazdelili tudi zvok z višjimi frekvencami. Za zvočna valovanja s frekvenco nad 4000 Hz, ki jim ustreza valovna dolžina okoli 8 centimetrov, zadošča za usmerjenost že postavitev prepreke podobnih mer, kot je

Directing sound Countdown is not always bad since it can be used when we wish to direct sound. A directed sound will remove unnecessary noise on the stage and direct the sound towards the audience. In case of low-sound speakers we can use several methods for sound direc­ ting, however, more sources that influence each other reciprocally are necessary. The figure shows a simple example of three lowsound speakers that create a so-called kidney-shaped distribution of the sound by means of correct setting and suitable laps of time.

This technique is useful especially in halls and at classical music concerts where the level of noise must be minimized (image 3).

High sounds can be directed physically Of course, we are not only interested in low-sound speakers and fre­ quencies that are lower than 100 Hz, but would like to distribute the high-frequency sound as evenly as possible among the audience.

Sound waves with the frequency above 4000 Hz that are compa­ tible with the wave length of 8 cm, require at least a physical bar­ rier of approximately the same dimensions as is the wave length for directing the sound. This is also proven by the fact that high sounds cannot be heard from cars and other enclosed spaces where the walls themselves represent a sufficient barrier. The higher the frequency, the shorter wave lengths and thus also barriers that are necessary

Več zvočnikov usmeri zvok Oglejmo si amplitudno značilnost običajnega zvočnika, ki vsebuje nizkotonsko in visokotonsko komponento – trobljo pri frekvencah 250 Hz in 4000 Hz. Opazimo lahko, da so visoke frekvence dobro usmerjene, medtem ko je frekvenca 250 Hz, ki zaznamuje tone bas kitare, še vedno slabo us­ merjena in »seva« na oder (sliki 4 in 5).

Sestavljanje več takih zvočnikov v stolp nam snop očitno oži. Ravno ta način sestavljanja širokopasovnih zvo­čnikov z natančno usmerjenim zvokom (ang. line array) je osnova za sodobna ozvočenja velikih formatov. Z dolgo vrsto izvorov valovanja lahko nadzorujemo smer širjenja in tako usmeri­ mo zvok samo tja, kjer je potreben - v občinstvo. Seveda je pri tem ključna beseda »dolgo«. Premalo izvorov ne more zadostno usmerjati nizkih frekvenc, saj je usmerjenost od­ visna od valovne dolžine valovanja, ki je pri frekvencah pod 100 Hz že več kot 3 metre. Za usmerjanje visokih frekvenc se pri širokopasovnih zvočnikih z natančno usmerjenim zvokom še vedno uporabljajo visokotonske troblje, ki so oblikovane tako, da imajo izjemno majhno razpršitev v ver­ tikalni smeri (slika 6).

Tako lahko s kombiniranjem več zvočnikov usmerimo zvok natančno tja, kamor želimo. Kadar so medsebojni koti med visečimi zvočniki majhni, se valovanja iz zvočnikov še dodatno seštevajo med seboj. To nam zagotavlja dober domet na dolge razdalje, saj lahko vrhnje zvočnike pus­ timo tesno skupaj, spodnje pa razpremo. S tem nadzoro­ vano zmanjšamo amplitudo in povečamo enakomernost zvočnega valovanja v prostoru (slika 7).

Seveda lahko zvok natančno usmerjamo tudi pri nizkoton­ skih zvočnikih in tako zagotovimo enakomernost nizkih frekvenc med publiko. Ob tem je treba poudariti, da moramo zaradi večjih valovnih dolžin radija nekaj metrov uporabiti več izvorov za doseganje usmerjenosti, kar v praksi pomeni veliko število nizkotonskih zvočnikov. To predstavlja veliko oviro v logističnem smislu, saj je treba pred odrom zagotoviti ustrezen prostor za namestitev zvočnikov.

Programska oprema za pripravo ozvočenja Vse slike so bile ustvarjene z računalniškim programom Mapp Online Pro, ki je proizvod ameriškega izdelovalca zvočnikov Meyer Sound. Zanimivost programa je ta, da za računanje re­ zultata ne uporablja samo številčnih metod, ampak je zasno­ van na ogromni bazi merjenih podatkov. S pomočjo mikro­ fona se izmeri frekvenčno značilnost vsakega zvočnika v vseh točkah horizontalne in vertikalne ravnine. S pravimi podatki o odzivu zvočnika v prostoru se nato s pomočjo valovnih for­ mul izračuna povezovanje več zvočnikov med sabo. Rezultat je podan bodisi kot zgoraj omenjena amplitudna odvisnost v prostoru ali kot frekvenčna značilnost v merjeni točki. Tak

for directing sound. To direct high frequencies it is therefore most easily to set up wall barriers around the source of sound, where di­ recting the walls determines the direction of waves. This way high sound horns are created.

Directing sound by means of more speakers Let us examine the amplitude characteristic of a classic speaker that contains both a low-sound and a high-sound component – a horn at frequencies 250 Hz and 4000 Hz. We can notice that high frequencies are well directed, while the frequency of 250 Hz that marks the sounds of bas guitar is still poorly directed and »radiates« into the space of the stage (images 4 and 5).

Tower setting up of more such speakers evidently narrows the radiation.

This way of setting up speakers represents the basis of modern large-format sound systems of »line array« type. By using long lines of waves we can control the direction of sound distri­ bution and thus direct the sound to where it is needed – the audience. The key to such distribution lies in the word »long«.

Insufficient number of sources cannot adequately direct low frequencies because their direction is dependant on the wave length of the sound wave which is more than 3 metres long at frequencies below 100 Hz. For directing high frequencies in »line arrays«, high-sound horns are still in use, since their design enables extremely small sound distribution in vertical direction (image 6).

By combining more speakers this way, we can focus the sound in the required direction. When angles between hanging speakers are small, the waves from speakers additionally increase. This ensures the best range of the sound at long distances, since upper speakers can be set up closely together and the lower speakers set apart. Thus, the amplitude is more easily controlled and the uni­ formity of the sound wave in space increased (image 7).

‘Line array’ can of course also be set up of low-sound ­speakers and thus ensure uniformity of low frequencies among the audience.

Here it is important to stress that due to longer wave lengths it is necessary to use more sources for reaching proper ­direction, and in practice this means a large number of low-sound speakers. Logis­ tically, this represents a big obstacle since suitable space for speak­ ers below the stage is necessary.

Sound system set up software All presented figures have been created with Mapp Online Pro computer program, the product of American speaker producer, Meyer Sound. What is interesting about this computer pro­ gram is the fact that it does not use only numeric methods to measure results, but is based on extensive database. By means of a microphone the frequency characteristic of each speaker at every point of horizontal and vertical plane was measured.

With the actual data on speaker response in space and the help of wave formulas, the integration of more speakers was then calculated. The final result is either the before-mentioned am­ plitude of dependency in space or the frequency characteristic in the measured point. Such program represents the basic tool for preparing speakers for concerts, since it allows us to deter­ mine precise sound system set up before the actual set up of the same system. This way we are informed of necessary dimen­ sions and location of speakers which makes their setting up not only much faster but more efficient as well.

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valovna dolžina. To dokazuje tudi dejstvo, da se iz avtomo­ bila in drugih zaprtih prostorov visokih tonov ne sliši, saj so stene zanje dovolj velika prepreka. Višja ko je frekvenca, krajše so valovne dolžine in s tem za usmerjanje potrebne prepreke. Usmerjanje visokih frekvenc lahko torej prepro­ sto izvedemo kar s postavitvijo sten okrog izvora, njihova usmeritev pa bo narekovala smer valovanja. Tako so ust­ varjene visokotonske troblje.

program je osnovno orodje za pripravo ozvočenja za koncert, saj lahko z njim natančne nastavitve ozvočenja in njegovo postavitev določimo še pred dejansko postavitvijo. Tako so znane mere ter lokacija zvočnikov in postavitev je hitrejša in učinkovitejša.

Usklajevanje ozvočenja Po končani namestitvi zvočnikov je treba ves sistem ozvočenja še nivojsko in frekvenčno uskladiti. Podobno kot glasbeniki uglašujejo glasbila in prilagajajo jakost igranja, da velik orkester zveni ubrano, moramo vsak element ozvočenja uskladiti z dru­ gimi. Preprost primer je določanje jakosti zvočnikov, namen­ jenih le prvim vrstam. Dolga leta ni bilo primernega orodja, ki bi merilo nivoje zvoka, zato so se meritve zanašale predvsem na uho človeka, ki je opravljal to delo. Z razvojem računalnikov in elektronike so se razvile naprave, ki ne zaznavajo zgolj glas­ nosti zvoka, temveč tudi jakost posameznih frekvenc ali spe­ kter valovanja. To so spektralni analizatorji, ki jih poenostav­ ljene najdemo v računalniških predvajalnikih glasbe, obstajajo pa tudi samostojne enote z vgrajenimi mikrofoni.

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Frekvenčni odziv Z dodatnimi izboljšavami so danes na voljo naprave, ki grafično enostavno prikazujejo frekvenčni odziv. Ustavimo se pri besedi odziv. To v tem primeru uporabimo kot primerja­ vo med vhodnim in izhodnim signalom, v primeru zvočnika med vhodnim električnim in izhodnim zvočnim valovan­ jem. Kadar je zvočno valovanje natanko enako valovanju, ki je prišlo v zvočnik, govorimo o linearni pretvorbi. Ta je grafično prikazana kot ravna črta, vsa odstopanja od idealne­ ga prenosa pa se kažejo kot odstopanja od ravne črte. Na sliki vidimo primer frekvenčnega odziva zelo dobrega zvočnika.

Ta električni signal, ki ga prejema, skoraj idealno spreminja v zvok v spektru med 80 Hz in 16 kHz. Napravam, ki so zmožne prikazovanja frekvenčnega odziva, pravimo frekvenčni analizatorji. Meritve nam podajo pulzni odziv, frekvenčni odziv in jakost valovanja. S temi parametri lahko posamezne dele ozvočenja uskladimo tako, da so med seboj tako nivojsko kot frekvenčno čim bolj enakomerni.

Poleg tega nam pomagajo pri nastavljanju časovnih vred­ nosti in s tem pravilnih interakcij med zvočniki. Merjenje na terenu z mikrofonom na različnih točkah prizorišča zagotavlja nastavitev čim boljšega frekvenčnega odziva po vsem prostoru, kjer bodo poslušalci (slika 8).

Frekvenčni analizatorji Najbolj razširjen analizator v svetu je SIA Smaart. Gre za računalniški program, poleg katerega potrebujemo še kako­ vosten referenčni merilni mikrofon in zvočno kartico. Seve­ da je za obvladovanje programa in pravilno interpretacijo meritev potrebno tudi zadostno znanje s področja fizike in elektronike (slika 9).

Trenutno najnaprednejši analizator je SIM3 podjetja Meyer­ Sound, ki v sebi združuje večkanalne meritve in povezavo s frekvenčnimi kretnicami in ekvalizatorji. To omogoča meritve in prilagajanje ozvočenja tudi med koncertom, v čemer tre­ nutno na tržišču nima konkurence. Gre za samostojno enoto, ne za računalniški program, njegovi začetki pa segajo že v leto 1986, ko je bila narejena prva izvedenka, ki je takrat pomenila pionirstvo v akustičnih meritvah ozvočenj.

Sound system coordination After physical set up of speakers it is necessary to properly adjust the whole system as regards its level and frequency. As musicians tune their instruments and adapt the level of their playing so that the orchestra sounds harmonic, we too must adjust and coordinate every element of the sound system. A simple example is determining the sound level of the front speakers that are intended for the audience sitting or standing in the first rows. For a number of years there existed no tool that could measure sound levels and it was up to a human ear to decide on such measures. However, the introduction of computers has brought about tools that do not only measure sound levels, but also the level of certain frequencies or even wave spectra.

These are so called spectrum analyzers, of which simplified version can be found in music reproducers, but there exist also self-contained units with installed microphones.

Frequency response Thanks to additional improvements it is nowadays possible to use devices that graphically show frequency response. Let us here stop at the word response. The latter is here used as a comparison between the input and output signal, in other words, between the input elec­ trical and output sound wave in speakers. When the sound wave is exactly the same as the wave that comes into the speaker, we are talking about conversion. Graphically this is shown as a straight line, while all deviations from the ideal conversion are shown as deviations from the same straight line. In figure we see an example of a frequency response of a high-quality speaker. The electrical sig­ nal that is received is almost ideally changed into a sound spectrum of between 80 Hz and 16 kHz. Devices that are capable of showing frequency response are called frequency analyzers. Measures supply us with pulse re­ sponse, frequency response and strength of waves. By means of these parametres it is possible to coordinate individual parts of sound system so that these are as equal as possible in their level and frequency. Moreover, they help us set up time values and thus correct interactions between speakers. Field measurements by means of a microphone at different points of a stage ensure a set up of an optimum frequency response in the whole space where listeners are designated to be (image 8).

Frequency analyzers SIA Smaart is the most common analyzer in the world. It is a computer program that requires a quality reference measuring microphone and a sound card. Of course, sufficient knowledge of physics and electronics are also necessary for proper program ma­ nagement and correct measurement interpretation (image 9).

Currently most advanced analyzer is SIM3 of Meyer Sound company that combines multichannel measurements and the connection with frequency modulators and equalizers which en­ able measurement and adaptation of sound system also ­during concerts, thus being of unique kind in the market. It is not a computer program, but rather an independent unit of which existence can be traced back to 1986 when its first version was created and at that time represented a pioneering work in ac­ coustic measurement of sound systems.

Much progress has been made With the introduction of new technological tools, especially for measurement and calculation, sound systems have dramati­

cally improved. All theories that could not be explained have been forgotten since it is now possible to check by means of science and physical measurements, every part of audio path from its source via microphone and speakers back to sound. In the previous decade it was probably exactly this that caused a small revolution among sound system producers. This shows that they are well aware that only scientific and precise ap­ proach to new products guarantees progress in sound system industry which adds value to the needs of not only sound sys­ tems but research work as well.

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1

Glasnost v odvisnosti od razdalje za en nizkotonski zvočnik, F=63 Hz. Sound volume in relation to distance for one low-sound speaker, F=63 Hz.

4

Glasnost v odvisnosti od razdalje pri uporabi dveh zvočnikov, F=63 Hz. Sound volume in relation to di­s­tan­ce at using two speakers, F=63 Hz.

5

Klasičen »full range« zvočnik, levo F=250 Hz, desno F=4 kHz. Classic »full range« speaker, left F=250 Hz, right F=4 kHz.

7

Predikcija frontalnega ozvočenja za koncert Joseja Carerrasa, Beogradska arena, februar 2008, F=4 kHz. Prediction of the front sound system at Jose Carerras concert, Belgrade Arena, February 2008, F=4 kHz.

3

Trije zvočniki, srednji obrnjen nazaj in časovno zamaknjen, F=63 Hz. Three speakers, the middle speaker turned backwards with a time lapse, F=63 Hz.

6

Element »line array«, stranski pogled, F=4 kHz. / “Line array” element, side view, F=4 kHz.

8

Nastavitve ozvočenja s pomočjo analizatorja / Sound system set up by means of analyzer

9

Frekvenčni analizator SIA Smaart.

Frequency analyzer SIA Smaart.

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Ozvočenje je doživelo velik napredeK Z uporabo novih tehnoloških orodij, predvsem orodij za meritve in izračune, se je tudi ozvočevanje temelji­ to izboljšalo. Vse dogme, ki jih v preteklosti nismo znali razložiti, so sedaj pozabljene, saj s pomočjo znanosti in fizikalnih meritev lahko preverimo vsak del avdio poti od izvora prek mikrofona in zvočnikov nazaj v zvok. V pretek­ lem desetletju je najbrž prav zaradi tega dejstva nastala prava mala revolucija med proizvajalci zvočnikov. Vsi se namreč zavedajo, da zgolj z znanstvenim in natančnim pristopom k novim izdelkom zagotavljajo napredek v zvočni industriji tako za potrebe ozvočevanja kot tudi za studijsko delo.

VIDEO PRIKAZOVALNIKI VIDEO DISPLAYS Besedilo/Text: Tomaž Šušteršič in Rok Planinc, Interplan, Foto/Photo: Interplan www.interplan.si

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Pred načrtovanjem poslovnega dogodka, konference, pre­davanja, koncerta, športnega tekmovanja ali druge prire­ditve smo pogosto postavljeni pred težko odločitev, kako pri­kazati vizualne vsebine.

Before planning a business event, conference, lecture, concert, sports competition or other event one often has to fa­ce a difficult decision: how to present visual content.

Poraja se vprašanje, ali naj uporabimo projekcijsko platno v kombinaciji z video projektorjem (LCD ali DLP), LED ­diodni prikazovalnik ali plazmatski, LCD ali OLED zaslon. V določenih primerih in kadar nam proračun pri­ reditve to omogoča, se lahko odločimo tudi za kombinacijo vseh treh, kar prinaša tudi optimalni učinek.

Najprej si poglejmo nekaj osnovnih lastnosti vseh treh pri­ kazovalnikov, ki jih bomo za lažjo predstavo opisali zelo laično in poenostavljeno.

The question arises whether to use projection canvas together with a video projector (LCD or DLP), an LED diode display or a plasma, LCD or OLED screen. In certain cases and when the budget allows us, we may opt for a combination of all three possibilities, which gives the optimum effect.

In order to be able to easier imagine the possibilities, we will first have a look at some basic characteristics of all three displays and describe them in a simple way.

Videoprojektor Imenujemo ga tudi multimedijski projektor ali LCD projek­ tor (angl. LCD projector ali beamer). Sliko projicira iz vira svetlobe preko prizme in leče na projekcijsko površino, ki je oddaljena od samega vira svetlobe (tudi do več metrov). (slika 1) Svetlobni žarek potuje iz projektorja na projekcijsko površino skozi zunanjo atmosfero, zato na njegovi poti ne sme biti fizičnih ovir. Idealna projekcijska površina je pro­ jekcijsko platno, seveda pa se lahko projicira tudi na druge nekontrastne (bele ali svetle) površine, kot so fasade objek­ tov, skalne osnove, vodne ali snežne zavese in podobno. Na projekcijsko površino je možno projicirati s sprednje strani (front projekcija), posebna projekcijska platna pa omogočajo tudi projiciranje z zadnje strani (back projekcija). (slika 2) Projekcije so primerne za prikaze vsebin manjših in večjih dimenzij, tudi do več sto kvadratnih metrov.

LED diodni prikazovalnik Imenujemo ga tudi tudi LED zaslon (angl. LED screen ali LED display). Ponavadi ga sestavlja več LED pane­ lov oziroma modulov, ki skupaj tvorijo celoto. Predstav­

1

Video projector It is also called multimedia projector or LCD projector (beam­ er). It projects the image from the source of light through the prism and lens onto the projection surface that is at a distance of up to several metres from the actual source of light (image 1). The light beam travels from the projector to the projection surface through the external atmosphere, therefore there should be no physical obstacles on its way. The ideal projection surface is a projection canvas, but it can also project on other surfaces without contrast (white or light), such as building facades, rocks, water or snow curtains and similar. The projection surface can be projected on from the front side (front projection), special projection canvas allow also projection from the back side (back projection) (image 2). Projections are appropriate for the dis­ play of contents of smaller and larger dimensions, up to several hundred square meters.

LED diode display It is also called LED screen or LED display. Usually it is built of several LED panels or modules that build a whole. We can imagine it as a huge TV screen, where everything together is enclosed in a housing. On the outside of the housing there is a

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Plazmatski/LCD/OLED zasloni Ti so najbolj razširjeni in najpogosteje uporabljeni visokore­ solucijski zasloni manjših dimenzij (diagonale do 267 cen­ timetrov). V vsakdanji uporabi jih poznamo predvsem kot televizijske ali računalniške zaslone. (slika 4) Primerni so predvsem za prikaze v zaprtih in manjših prostorih, kjer lah­ ko s kombinacijo večjega števila zaslonov vsebine prikažemo tudi večjemu številu gledalcev. Poleg tega jih odlikuje dobra svetilnost in vidljivost ob prisotnosti močnejšega vira svet­ lobe. Za zelo uporabne so se izkazali v primeru sejemskih predstavitev za predvajanje predstavitvenih filmov in tudi zahtevnejših grafičnih elementov, logotipov in podobno.

Tovrstni zasloni, kadar jih uporabljamo v večjem številu, la­ hko služijo tudi kot zelo učinkovit scenski element. Zaradi njihovih specifičnih omejitev (velikost in omejena možnost uporabe) jih ne bomo posebej izpostavljali.

Pred dogodkom Poglejmo si nekaj bistvenih vprašanj, ki si jih moramo kot organizatorji dogodka zastaviti pred izbiro primernega pri­ kazovalnika za našo prireditev.

1. Kakšno vsebino želimo predstaviti svojim potencialnim gledalcem?

- Video vsebine (videospoti, predstavitveni filmi, dokumen­ tarni filmi in podobno)?

- Animacijska ozadja, ki nam služijo kot del scenografije?

- Različne vizualne prezentacije (na primer v programu Power Point) ali druge zahtevne grafične prezentacije (arhitektura, načrtovanje)?

- Prenos »žive slike« z eno ali več kamerami?

- Grafične izide ali statistične podatke različnih športnih tekmovanj?

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net of small illuminating LED diodes (in RGB colours, the newer models also in RGB colours with white light) that light up regarding the dynamics of the displayed visual content. As the resolution of such a display is very small, also the displayed visual contents are very rough and the entire image is readable only from a bigger distance (image 3). LED diode displays are usually used to present visual content of bigger dimensions (over 5 m2) as part of the light scene of the event (where mo­ dules can be used individually) or as perimeter at sport events (usually approximately 1 metre height and endless length).

Plasma/LCD/OLED screens These are the most expanded and most used high-resolution screens of smaller dimensions (diagonals of up to 267 cm). In everyday use they are known mostly as television or computer screens. (image 4) They are appropriate for the display in closed and smaller spaces, where with a combination of more screens the contents can be shown to more spectators. Furthermore, they are characterised by better luminous intensity and visibility with a stronger light source. They have proven very useful for fair presentations to show presentation films and more deman­ ding graphic elements, logos and similar. When they are used in bigger numbers, such screens can serve as very efficient scene elements. Due to their specific limitations (size and limited use options) we will not further highlight them.

Prior to the event We will have a look at some crucial questions that we have to ask ourselves as event organizers before choosing an adequate display for our event.

1. What content do we wish to present to our potential specta­ tors?

- Video content (video spots, presentation films, documentary films and similar)?

- Animation background that serves as part of the scene?

- Different visual presentations (for instance Power Point) or other demanding graphic presentations (architecture, plan­ ning)?

- Transfer of a “live image” with one or more cameras?

- Graphic results or statistics from different sport competitions?

2. In what conditions will the event take place?

- Is it a day or night event?

- Does the event take place inside or outside?

- Is there enough space to set up different big format displays?

- What are the expected weather conditions (rain, wind, hu­ midity)?

3. How will the content be shown on the chosen display?

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ljamo si ga lahko kot ogromen televizijski zaslon, kjer je vse skupaj sestavljeno v zaprtem ohišju. Na zunanji strani ohišja je mreža majhnih svetlečih LED diod (v RGB bar­ vah, novejši tudi v RGB barvah ter z belo svetlobo), ki se prižigajo glede na dinamiko predvajane vizualne vsebine.

Ker je resolucija takšnega prikazovalnika dokaj majhna, je tudi prikaz vizualne vsebine dokaj grob in je celotna slika primerno berljiva šele z večje razdalje. (slika 3) LED dio­ dne prikazovalnike ponavadi uporabljamo za prikaze vi­ zualnih vsebin večjih dimenzij (nad 5 kvadratnih metrov), kot del svetlobne scenografije dogodka (kjer lahko posa­ mezne module uporabljamo tudi ločeno) ali kot perimeter na športnih dogodkih (navadno približno meter višine in neskončne dolžine).

2. V kakšnih pogojih se bo dogodek odvijal?

- Gre za dnevno ali večerno/nočno prireditev?

- Se bo dogodek odvijal na prostem ali v zaprtem prostoru?

- Ali imamo na razpolago dovolj prostora za postavitev različnih prikazovalnikov velikega formata?

- Kakšne so pričakovane atmosferske razmere (padavine, veter, vlaga)?

3. Kako bomo vsebino predvajali na izbranem prikazovalniku?

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Vizualne vsebine za prikaz Kadar želimo prikazati video vsebine ali tako imenovano živo sliko in v kolikor govorimo o večjih formatih prikazovanja, uporabimo LED diodni prikazovalnik ali videoprojektor s projekcijskim platnom. Odločiti se moramo, ali potrebujemo večjo svetilnost, ki jo dosežemo z LED diodnimi prikazoval­ niki ali boljšo kakovost slike, ki jo na račun nekoliko slabše vidljivosti lahko dosežemo z videoprojektorji in projekcijo na projekcijsko platno.

Pri prikazih grafike, predstavitvah in drugih zahtevnejših grafikah bomo gledalce le stežka zadovoljili z LED diod­ nimi prikazovalniki, saj ne dosegajo tako dobre ločljivosti kot nam to omogočajo videoprojektorji. Poleg tega so LED diodni prikazovalniki za prikaze primerni le, če so dovolj oddaljeni od gledalcev.

Standardne ločljivosti diodnih prikazovalnikov in projek­ torjev (primer za dimenzijo prikazovanja 5 x 4 metra): - LED zaslon (razdalja med točkami 16 milimetrov – pixel pitch) 320 x 192 točk, - klasični videoprojektor 1024 x 768 točk, - LED zaslon (razdalja med točkami 8 mm – pixel pitch) 640 x 384 točk, - high definition videoprojektor 1920 x 1080 točk (slika 5).

Različni svetlobni pogoji Poglejmo še uporabnost omenjenih prikazovalnikov v različnih svetlobnih pogojih. V kolikor gre za prireditev, ki bo potekala ob dnevni svetlobi, bomo želene vsebine najlažje predstavili z LED diodnimi prikazovalniki, ven­ dar moramo upoštevati, da so ti prikazovalniki namen­ jeni predvsem za predvajanje video vsebin in bomo težko zadovoljivo prikazali zahtevnejše grafične elemente, grafe, tabele in podobno. Tudi videoprojektorji z velikimi svetil­ nimi vrednostmi (nad 15.000 ­ansi/lumni), ki se trenutno uporabljajo na slovenskem tržišču, ne bodo kos močnemu viru naravne svetlobe. Če vseeno želimo uporabiti projek­ tor, ki omogoča kakovosten prikaz, lahko zunanji prostor na primeren način zastremo in zatemnimo, kar bo zadoščalo za izvedbo videoprojekcije.

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Visual content for display When we wish to show video content or a so-called live ­image and if we are talking about bigger display formats, we use an LED diode display or a video projector with a projection can­ vas. We have to decide if we need bigger luminous intensity that we achieve with an LED diode display or a better quality pic­ ture that we can get with video projectors and projections on projection canvas on account of somewhat worse visibility.

When displaying graphics, presentations and other demanding graphics we will hardly satisfy the spectators with LED diode displays since they do not achieve such good resolution as video projectors. Furthermore LED diode displays are appropriate for displaying only if the distance to the spectators is big enough.

Standard resolution of diode displays and projectors (example for dimensions of 5 x 4 metres): - LED screen (distance between pixels 16 mm – pixel pitch) 320 x 192 pixel, - classic video projector 1024 x 768 pixel, - LED screen (distance between pixels 8 mm – pixel pitch) 640 x 384 pixel, - high definition video projector 1920 x 1080 pixel (image 5).

Different light conditions The use of these displays varies regarding the different light conditions. If the event is to be held at day light the desired content will be the easiest presented with LED diode dis­ plays; however, we have to take into account that these dis­ plays are intended mostly for the display of video content and it will be diff icult to eff iciently display more demanding graphic elements, charts, tables and similar. Not even video projectors with high light values (over 15,000 ansi/lumni) that are currently used in the Slovenian market will be able to stand the strong natural day light. If we still want to use a projector that enables quality display, we can cover and dim the space outside, which will do for the realization of a video projection.

When we opt for an inside event (sport halls, conference rooms, fair places and similar), which are usually darker or artificially dimmed places, we may use projectors with projection canvas.

With projectors we achieve better resolution and therefore also graphic elements, charts, tables, Power Point presentations and similar can be displayed in a quality manner. Adequate scene lighting (if we use it) is also very important; it should not light up the space of projection.

Inside or outside Influences from the atmosphere (rain, wind, temperature) are very important factors when deciding what to use to show vi­ sual content. If it rains both displays, the LED diode display and the video projector can become wet. Both can be protected with an appropriate awning or roof construction; however, this is not always possible. LED diode displays exist also in types made for external use; in this case no protection is needed. Due to their relatively small dimensions video projectors can be pro­ tected quite easily.

If there are strong wind currents the LED diode displays will definitely turn out more efficient than the video projector as re­ gards the projection canvas. When it comes to transparent LED diode displays (for instance LED curtains or LED strips),

Zunaj ali znotraj Atmosferski vplivi (dež, veter, temperatura) so zelo pomembni dejavniki pri odločanju, kaj uporabiti za pri­ kaz vizualnih vsebin. V primeru dežja bosta lahko mokri obe vrsti prikazovalnikov, tako LED diodni prikazovalnik kot videoprojektor. Oba lahko zaščitimo s primerno pon­ javo ali strešno nadkonstrukcijo, vendar to ni vedno možno.

LED diodne prikazovalnike poznamo tudi v izvedbah za zunanjo uporabo, v tem primeru zaščita sploh ni potrebna.

Vi­deoprojektorje pa zaradi relativno majhnih dimenzij lah­ ko zaščitimo na dokaj preprost način.

Ob močnejših sunkih vetra se bo v primerjavi s projekcijs­ kim platnom, na katerega projiciramo z videoprojektorja, nedvomno bolje odrezal LED diodni prikazovalnik. Kadar govorimo o prosojnih LED diodnih prikazovalnikih (na primer LED zavese ali LED trakovi), ki ponavadi sicer služijo predvsem za predvajanje video animacijskih ozadij ali kot scenski elementi, bo vpliv vetra še manjši. Pri projek­ cijah pa so za takšne primere bolj uporabna fleksibilna pro­ jekcijska platna, ki ob pravilni namestitvi lahko prenesejo dokaj velike vetrne obremenitve tudi pri večjih dimenzijah (do 100 kvadratnih metrov).

Nobeden od naštetih prikazovalnikov ne prenaša izjemno nizkih ali pretirano visokih temperatur, zato se izogibamo njihovi uporabi, ko temperatura pade pod minus 20 stopinj celzija ali se dvigne nad 50 stopinj celzija.

Kako dimenzionirati Dimenzije prikazovalnikov so odvisne od potreb prireditve in namena uporabe. Veliko je odvisno tudi od proračuna pri­reditve, saj praviloma večje dimenzije prikazovanja za­h­ te­vajo tudi višja finančna sredstva.

Namenimo nekaj besed različnim formatom prikazovanja vi­ zualnih vsebin. Standardni ali klasični TV format je postav­

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which are usually used to display video animation background or a scene element, the wind impact will be smaller. In these conditions flexible projection canvas are more appropriate since, if correctly set up, they can endure quite some wind loadings also when it comes to bigger dimensions (up to 100 m2).

None of the listed displays endures extreme low or extreme high temperatures; therefore we avoid using them when tempera­ tures are below -20 degrees or over 50 degrees.

How to dimension Display dimensions depend on the needs and the aim of the event. A lot depends also on the budget of the event, as ­usually bigger dimensions of displaying demand more f inan­ cial resources.

We will have a few words on the different formats of displa­ ying visual content. Standard or classic TV format is set in the 4:3 format, while modern wide screen format is set in the 16:9 format. In combination with different computer-programme solutions, LED diode displays and video projectors allow both possibilities as well as other dimensions and formats of sho­ wing content.

When choosing the appropriate display we have to take into con­ sideration the requirements of the space where we will display the visual content. If we use projection canvas (with a video projector) in closed rooms, their installation is quite simple since they can be mounted on their own stand or attached on the given constructions. Their weight is rarely over 100 kg, therefore there are usually no problems with the construction loading capa­city or with floor loadings. More attention has to be devoted to the distances that video projectors need to display images onto the projection canvas. The projection canvas (or other projection surfaces) and the video projector’s positions have to be antici­ pated already during the planning of the event scene, since their position depends on the direction of the projection. A projection of 4 x 3 metre dimensions requires a distance between the pro­ jector and the canvas of 6 to 8.5 metres; a projection of 9 x 3 me­ tre dimensions requires a distance of 18 to 23 metres. Based on this information only, we will be able to choose the appro­priate position of the projector and the appropriate lens for the projec­ tion on the canvas. If there is not enough space, we can use a wide-angle lens that decreases the required distance between the projector and the canvas (for instance: with a projection of 9 x 3 metre dimensions, it will decrease to about 7 metres). If the field of view between the video projector and the projection ­sur­face­

121 PRIROCNIK / MANUAL

Ko se odločamo za prireditve v zaprtih prostorih (športne dvorane, konferenčni prostori, sejmišča in podobno), ki po vsej verjetnosti potekajo tudi v temnejših ali vsaj umetno zatemnjenih prostorih, lahko uporabimo projektorje s pro­ jekcijskimi platni. S projektorji pridobimo predvsem boljšo ločljivost, tako da lahko kakovostno predvajamo tudi grafične elemente, grafe, tabele, Power Point predstavitve in podobno.

Pomembna je tudi pravilna scenska osvetlitev (kadar jo upo­ rabljamo), ki naj ne osvetljuje mesta projiciranja.

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ljen v razmerju 4:3, medtem ko je sodobnejši širokozaslonski (wide screen) format v razmerju 16:9. Tako LED diodni prikazovalniki kot tudi videoprojektorji omogočajo v kombi­ naciji z različnimi računalniško-programskimi rešitvami obe možnosti ter tudi druge dimenzije in formate predvajanja vsebin.

Pri izbiri primernega prikazovalnika moramo biti pozorni na zakonitosti prostora, v katerem bomo vizualne vsebine predvajali. Pri uporabi projekcijskih platen (z videoprojek­ torjem) v zaprtih prostorih je njihova namestitev dokaj pre­ prosta, saj so lahko postavljena na lastnih stojalih ali vpeta oziroma obešena na obstoječe konstrukcije. Njihova teža le redko presega 100 kilogramov, zato z nosilnostjo konstruk­ cij ali s talnimi obremenitvami ponavadi ni težav.

Večjo pozornost moramo posvetiti le razdaljam, ki jih potrebu­ jejo videoprojektorji za projiciranje slike na projekcijsko plat­ no. Postavitev projekcijskih platen (ali drugih projekcijskih površin) in položaj videoprojektorjev je treba predvideti že v fazi načrtovanja scenografije dogodka, saj je njihova postavitev odvisna od smeri projiciranja. Projekcija dimenzij 4 x 3 metre zahteva razdaljo med projektorjem in platnom od 6 do 8,5 metrov; projekcija dimenzije 9 x 3 metra pa že od 18 do 23 metrov razdalje. Le na podlagi teh podatkov bomo lahko iz­ brali pravilno pozicijo projektorja in primerno lečo za projici­ ranje na platno. V kolikor nimamo na voljo dovolj prostora, si lahko pomagamo s širokokotno lečo, ki zmanjšuje potrebno razdaljo med projektorjem in platnom (na primer: pri projek­ ciji dimenzije 9 x 3 metrov se bo ta zmanjšala le na dobrih 7 metrov). Kadar nimamo na voljo dovolj širokega vidnega polja med videoprojektorjem in projekcijsko površino, uporabimo tako imenovano »long throw« lečo (leča za projiciranje na dolgih razdaljah), ki zoži projekcijski snop. Vsekakor se velja za vsak posamezen primer že v pripravi na dogodek posebej posvetovati s strokovnjakom.(slika 6 - na prejšnji strani) Pri postavitvi LED diodnih prikazovalnikov težav z razdal­ jami ni, saj standardna globina ohišja modula ponavadi ne presega 0,3 metra, v primeru LED zaves ali trakov pa je še bistveno manjša. Več pozornosti pa bomo morali nameniti teži in pravilni namestitvi prikazovalnika. Povprečna teža LED diodnega prikazovalnika pri površini 50 kvadratnih metrov je približno 3.000 kilogramov (v izvedbah z ALU ohišjem je teža 30 odstotkov manjša). Zaradi specifične teže je zato posebna pozornost namenjena nameščanju na konstrukcije, ki morajo imeti tudi primerno nosilnost. Pre­ cej lažji so seveda transparentni LED diodni prikazoval­ niki (zavese, trakovi in podobno), ki pa se v večini primerov zaradi slabše ločljivosti uporabljajo le kot del scenografije.

Videoprojekcije Kot smo že nakazali, pod pojmom videoprojekcija razu­ me­mo projiciranje svetlobe iz videoprojektorja na razli­čne projekcijske materiale in površine.

Osnovne in najbolj učinkovite projekcijske površine so projekcijska platna za izvedbo projekcije s sprednje ozi­ roma zadnje strani platna. Te lahko razdelimo na klasične vi­deoprojekcije in panoramske projekcije. Za klasične vi­ deoprojekcije uporabljamo platna formata 4:3 ali 16:9; za pa­noramske projekcije pa platna različnih, poljubnih di­ menzij. Najpogosteje uporabljene dimenzije panoramskih platen so 9 x 3 metre, 12 x 4 metre, 18 x 4 metre in več

is not wide enough, we use the so-called long throw lens (a lens for long distances) that reduces the projection jet. However, it is recommendable to consult an expert for every individual case already during the preparation (image 6).

When setting up LED diode displays there are no problems with the distances, since the standard depth of the housing does not exceed 0.3 metres, in case of LED curtains or strips it is even smaller. More attention will though have to be devoted to the weight and the correct installation of the displays. The average weight of the LED diode display with a surface of 50 m2 is about 3,000 kg (displays with aluminium housing weigh 30% less). Due to the specific weight, special attention is devoted to the installation of the construction that should have appropriate loading capacity. Transparent LED diode dis­ plays (curtains, strips and similar) are of course much lighter, but due to worse resolution they are mostly used merely as part of the scene.

Video projections As we have already mentioned, the term video projection is un­ derstood as projecting light from the video projector onto differ­ ent projection material and surfaces.

Basic and most efficient projection surfaces are projection can­ vas for projection from the front or the back side of the canvas.

These can be divided into classic video projections and pano­ ramic projections. For classic video projection canvas of 4:3 or 16:9 format are used; for panoramic projection different canvas of whatever dimensions are used. Usually panorama canvas of ­9 x 3 metres, 12 x 4 metres or 18 x 4 metres and more are used; they can reach incredible 100 metres of length, depending on the wishes and needs of the client. (image 7) Of course, such big projections cannot be realized with only one video projector. The solution is in connecting several projectors that build a joint visual content.

This can be implemented only with appropriate computer pro­ gramme support joined in a ‘media server’. This server rep­ resents a special processing unit that comprises an analogue video entry to capture the live image from different sources and a DVI entry to capture the signal from the laptop or per­ sonal computer and thus enables different combinations of dis­ playing on the canvas (for instance simultaneous display of the speaker, Power Point presentation and logo of the company or

7

trademark). Hence there are a lot of possibilities and every­ thing can be projected with several video projectors into one picture without distortion.

The “media server” enables the creation of video projection by adding objects into the basic picture or enables the picture in picture effect (the basic picture can be in graphic form, photo or animated background), while the objects can be graphics, photos, sound, video record, text, live image or Power Point presentation. All objects can be changed according to our wis­ hes (increased, decreased, coloured, rotated, positioned). Also in this projection it is possible to include previously prepared or archive footage.

We can also project on uneven surfaces (different buildings, water or snow curtains, curved canvas, cupola or similar), since the media server enables us to fix the horizontal or verti­ cal distortion of the image. Thus it is possible to realize spheric projection (curvature of the projection surface in all axes), which is quite of a novelty.

When opting for a video projection we have to take into ac­ count also the manner of displaying content. As source, we can use a personal computer or laptop, video player or similar, for more demanding and complex content the already mentioned “multimedia server” is very handy, as it provides high quality resolution of displaying images; its use has therefore already become standard.

www.partyradio.si

www.kongres-magazine.eu

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– dosežejo lahko tudi neverjetnih 100 metrov dolžine, od­ visno od naročnikovih želja in potreb. (slika 7) Seveda tako velikih projekcij ne moremo izvesti z enim sa­ mim videoprojektorjem. Rešitev je v povezavi več projektor­ jev, ki tvorijo eno skupno vizualno vsebino.

To lahko omogoči le primerna računalniška programska podpora združena v »medijskem strežniku«. Ta predstavlja posebno procesno enoto, ki vsebuje analogni video vhod za zajem žive slike iz različnih virov in DVI vhod za zajeman­ je signala iz osebnega ali prenosnega računalnika in tako omogoča na platnu različne kombinacije prikazovanja (na primer sočasen prikaz govornika, njegove PPT predstavitve in logotipa podjetja/blagovne znamke). Možnosti je torej zares veliko in vse lahko projiciramo preko več videopro­ jektorjev v eno sliko brez popačenj. »Medijski strežnik« omogoča ustvarjanje videoprojekcije s polaganjem objektov na osnovno sliko oziroma omogoča efekt slika v sliki – »picture in picture« (osnovna slika je lahko v obliki grafike, fotografije ali animiranega ozadja), objekti pa so lahko grafike, fotografije, zvok, video zapis, besedilo, živa slika ali PPT predstavitev. Vse objekte lahko poljubno obdelujemo (povečujemo, pomanjšujemo, barva­ mo, rotiramo, nameščamo). Tudi v to projekcijo je seveda možno vključiti vnaprej pripravljene ali arhivske posnetke.

Projiciramo lahko tudi na neravne površine (različne stavbe, vodne ali snežne zavese, ukrivljena platna, ku­ pole in podobno), saj lahko s pomočjo medijskega strežnika poljubno popravljamo horizontalno in verti­ kalno iznakaženost slike. Na ta način je možno izvesti sferično projekcijo (ukrivljenost projekcijske površine v vseh oseh), kar pa je še precejšnja novost.

Pri odločitvi za videoprojekcijo moramo upoštevati tudi način predvajanja vsebin. Kot vir lahko uporabimo osebni ali prenosni računalnik, video predvajalnik in podobno, za zahtevnejše in bolj kompleksne vsebine pa je uporaben že omenjeni »multimedijski strežnik«. Ta omogoča tudi bist­ veno kakovostnejšo resolucijo predvajane slike, zato je post­ ala njegova uporaba že standard.

CATERING Besedilo/Text: Hiša kulinarike Jezeršek, Foto/Photo: Dragan Arigler, Žiga Živulovič www.jezersek.si

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Za dejavnost cateringa ni več ovir; ne prostorskih, ne glede števila ljudi, ki jih je treba pogostiti, ne v različnosti jedi in pijač. Pripravimo lahko najrazličnejša tehnološka kulinarična presenečenja z nenavadnimi ognjišči, ražnji in žari, postrežbo s helikopterja, vpletanjem gledaliških in drugih nastopov, glasbeno kuliso in drugimi elementi.

Ti so odločujoči, da so najrazličnejša druženja manjših ali tudi zelo velikih skupin ljudi usmerjena k žlahtni komunikaciji. Pogostitve je mogoče pripraviti tudi v tu­ jini, najuglednejših prireditvenih prostorih in za najbolj zahtevne goste, torej na najvišji protokolarni ravni.

Osnova catering ponudbe so štirje P-ji: - pripravimo - pripeljemo - postrežemo ali ponudimo - pospravimo.

Da vsi štirje P-ji delujejo kot dobro uigran orkester, je tre­ ba zadostiti številnim pogojem. Temeljni so seveda ljudje, vrhunska uigrana ekipa, ki jo sestavljajo kuharji, natakarji, vozniki, pomivalke, dekoraterji in cvetličarji, poznavalci ozvočenja in osvetlitve, postavljalci šotorov in še mar­ sikdo. Izpostaviti pa je treba še izrazito spoštovanje stro­ kovnosti in strokovnega mnenja. Zato se znajo tako rekoč v vsakem trenutku in za posebne primere vedno povezati z ustreznimi strokovnjaki. Kulinarika in gastronomija ter pripravljanje dogodkov so široka področja in le upoštevanje vseh podrobnosti lahko privede do dobrih rezultatov. Zato lastna znanja zaposlenih pogosto dopolnjujejo strokovnjaki s področja gastronomije, logistike, zabave, organizacije pri­ reditev in drugi.

Na prvem mestu je vedno kakovost!

Postreči komurkoli, kjerkoli in kadarkoli. S popolnim obv­ ladovanjem logistike z vso potrebno opremo in vrstami po­ nudbe je mogoče zagotoviti postrežbo in pripravo srečanja skoraj povsod: v šotoru, gradu, kongresni dvorani, na travni­ ku in tudi na ladji ali letalu.

Catering je večplastna dejavnost, ki se navezuje na osred­ nji prehranski obrat, kjer se izvrstna hrana tudi pripravlja.

Nekaj te lahko pripravimo tudi na samem kraju dogodka v najrazličnejših privlačnih izpeljavah, neposredno pred gosti.

Osrednji prehranski objekt predstavlja osrednja kuhinja z vsemi ostalimi delovnimi prostori, sodobna pomivalnica ter skladišča, ki zagotavljajo vrhunsko higiensko vzdrževanje jedilne in servirne posode ter jedilnih orodij. Takšen objekt lahko tudi z vidika zdravstveno higienskih standardov za­

Obstacles for catering services no longer exist; there are no limitations on space, no limits to the number of people being served, and no limits in the diversity of the food and beverages being offered. Today’s technologies can be utilized to create the greatest variety of culinary surprises, from exotic fireplaces, charcoal grills and barbecues, services from a helicopter, incorporating theatrical performances, music, and other dramatic elements. These ingredients are key to helping different social gatherings, from small to very large groups of people, enjoy more engaging conversations. Caterings may be provided also abroad, at the most prestigous venues and for the most demanding guests, thus on the highest state protocol level.

Catering services consist of four basic elements: - preparing - delivering - serving - clean-up.

Several conditions need to be satisfied in order to make all four elements work as a well trained orchestra. People play the key role, of course. A top quality team consists of chefs and cooks, waiters, drivers, dishwashing staff, décor specialists and florists, sound and lighting experts, tent builders, and many more. It is also important to stress proper respect and deference towards professional competence and opinion. Therefore, our staff can always connect with suitable experts at any moment and for special occasions. Gastronomy and event management services cover broad fields and being able to consider all the details will lead to good results. That’s why the expertise of our catering staff is often enhanced by experts from gastronomy, logistics, enter­ tainment, event organization fields and others.

Qualit y Always Comes First!

We can serve anyone anytime and at any locale. With the com­ plete mastering of logistics, all the necessary equipment, and the right bid, catering and event management services can be pro­ vided almost anywhere – in a tent, at a castle, at a congressional hall, in a meadow, as well as on a ship or a plane. Catering is a complex service and needs to be connected with a central kitchen where delicious food is prepared. Some of the food may be prepared on site in various attractive ways right in front of the guests.

The central food facility contains a central kitchen with other work areas, including modern scullery and storage rooms that ensure the highest standards of hygiene for tableware, service­ ware, cutlery and kitchen utensils. In order to preserve these hygiene standards, such a facility should be equipped with the

Zajtrk za dva ali pogostitev za 20.000 gostov Pogostitve in dogodke se lahko pripravi za različno število gostov. Najmanjši so zajtrki ali kosila, praznovanje ali in­ timno srečanje za enega, dva ali družino. Pogosti so delovni sestanki članov uprav, tudi sestanki s kosilom ali večerjo za ministrstva in druge ugledne skupine. Večji so spreje­ mi, srečanja in pogostitve v obliki sprejemov s prigrizki ali pravimi kosili ter večerjami za manjše skupine in manjša podjetja. Največja pa so druženja v velikih sistemih, kot je na primer Mercator, kjer je gostov tudi prek 15.000.

Pri tem seveda ni pomembno, za katero obliko se odločijo naročniki: za stoječe spremljanje dogodka ali za sedeč, postrežen način za omizji. Vse to je mogoče pripraviti tako v Sloveniji, kot v tujini. K slednjim oblikam se pridružujejo tudi promocije naše države s pogostitvami v okviru slogana Okusiti Slovenijo (Taste Slovenia) (sliki 4 in 5).

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latest technology and provide sufficient space to prepare and package the food. It should also be capable of maintaining both hot and cold temperatures while in storage and in transport.

What has been said is, of course, the basic condition for perfect success, but nevertheless all the details of the catering event and management need to be understood and implemented. Indivi­ dual events should be entirely under control and all the elements need to be polished up in detail (Images 1, 2 and 3).

Breakfast For Two Or Catering Services For 20,000 Guests Catering and event management services may be provided for different numbers of guests. The smallest event could include breakfast or lunch, celebrations or private gatherings for one or two individuals or a family. Business meetings for manage­ ment board members, formal luncheons or dinners for ministry officials, and other groups of distinguished guests are also pos­ sible. Larger events may include receptions, meetings and food services in the form of receptions with snacks or full lunches and dinners for smaller groups and smaller companies. The lar­ gest events involve social gatherings in major corporations, for example, Mercator (the largest Slovenian retailor), with over 15,000 guests.

The form of the event our clients choose is not relevant, of course, whether it be a stand-up event or a formal dinner. All this can be prepared in Slovenia as well as abroad. The latter form in­ volves the promotion of our country through catering events, within the slogan, Taste Slovenia (Images 4 and 5).

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gotavlja primerno velikost prostorov, sodobno in optimalno opremljenost vseh tehnoloških sklopov, od shranjevanja živil, primernih hladilnic, urejenih območij priprave posa­ meznih vrst živil, do kakovostne toplotne obdelave, zago­ tavljanja primerne stalne temperature hladnih in toplih jedi in izjemno zahtevnega prevoza. Povedano je seveda temeljni pogoj celovite uspešnosti, vendar pa je v enaki meri potrebno poznati vse podrobnosti prireditvenega dogajanja in vodenja, obvladati posamezne dogodke v njihovi celoti ali do podrobnosti izpiliti vse njihove dele (slike 1, 2 in 3).

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Okolje za prireditve in postrežba Okolja za organizacijo prireditev, dogodkov in srečanj s po­ gostitvami so lahko zelo različna. Pogostitve za večje ali manjše družbe lahko pripravimo v stanovanjih in zasebnih hišah ali na vrtovih in tudi v počitniških hišah. Izjemno uspešne so pogostitve s kulturnim programom v podjetjih in celo nji­ hovih proizvodnih in delovnih prostorih. Z ustreznim dekora­ tivnim pristopom se v odlične prostore druženja ob jedeh in pijačah spremenijo tudi parkirišča, travniki in gozdne jase.

Najpogostejši so sprejemi in srečanja v dvoranah, avditorijih in atrijih, kjer so najpogostejši odmori s prigrizki ter kosila in večerje ob kongresih, neposredno v kongresnih dvoranah in spremljajočih prostorih. V zadnjih letih se močno razvijajo najrazličnejše možnosti za dogodke v izvrstnih šotorih, ki so primerna okolja v vseh letnih časih. V šotorih lahko ustvarimo virtualna okolja in prijetna okolja za zabavo, pojedine in ples.

Nekaj posebnega so, na primer, sprejemi in pogostitve na lju­ bljanski tržnici pod Plečnikovimi arkadami in na drugih trgih v slovenskih mestih ter v sejemskih halah. Odlična okolja za pogostitve so tudi muzejski in drugi vlaki, ladje (na primer Prince of Venice) in celo letala. Izjemna doživetja so pogostitve v gradovih in dvorcih, kjer imajo naročniki možnosti izbirati med sodobnimi meniji ali meniji, ki so oblikovani iz bogate grajske kulinarične dediščine ali dediščine posameznih zgo­ dovinskih obdobij. Podobno velja tudi za reprezentančne pro­ store nekaterih slovenskih muzejev, mestnih hiš ter drugih ja­ vnih mestnih, trških, občinskih ali poslovnih stavb. Pogostitve je mogoče izvesti tudi na odru Cankarjevega doma ali v drugih gledaliških dvoranah ali njihovih preddverjih. Ob različnih odprtjih se kot prostor uporabi kar sam objekt, na primer nov most, predor, cesta ali drug objekt. Za večje skupine se upora­ bijo večji travniki in vrtovi, tudi parki, gozdovi, gozdne jase, letališke steze. Priložnost za druženje ob kulinarični ponudbi so bili celo nekateri objekti stavbne ali naravne dediščine, kot so kozolci ali kraške jame (sliki 6 in 7).

Sonaravno in prehrana letnih časov Pogled v kulinarično paleto pokaže dosledno upoštevanje letnih časov, zakonitosti sodobnega in predvsem zdravega prehranjevanja, ki vključuje vrsto lokalnih dobaviteljev in naravna živila. Postrežba gostov na dogodkih je možna s stoječimi pogostitvami, kjer je razpon od prigrizkov do ko­ sil in večerij. Sledi več možnosti dogodkov s sedečimi po­ gostitvami, kot so npr. samopostrežne pogostitve, postreženi obroki ali celoviti meniji in seveda vrhunska (lahko bi jim rekli tudi gala ali elitna) samopostrežna ali postrežena kosi­ la, večerje in druge vrste. Seveda so tukaj možne kombi­ nacije, kar pa je odvisno od želja naročnikov in ciljev, ki jih želijo doseči s posameznimi dogodki in srečanji.

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Event Setting And Service Venues for organizing catered events and social gatherings may vary quite extensively. Caterings for larger or smaller compa­ nies may be provided in apartments, private houses, in gardens, or at holiday houses. Catering services with the highest degree of success include some kind of cultural program or floor show and can even be performed in a company’s manufacturing or wor­ king facilities. With an appropriate décor approach, parking lots, meadows, and forest clearings may be turned into excellent locations for social events with food and drinks. The most com­ mon venues are receptions and gatherings in halls, auditoriums, and atriums where the most common feature is a light snack, or lunches and dinners during sessions of congress, right there in the congressional halls and adjoining areas.

Different possibilities for hosting events in first-class tents have been developed within the last few years, providing suitable settings for all seasons. Tents can create a virtual environment and a pleasant atmosphere for fun, feasts and dancing. Catering provided under Plečnik’s arcades at Ljubljana Market place and other Slovenian town squares and fair halls, for example, can be truly special. Other options can include museum trains, regular trains, ships (e. g. Prince of Venice), or even aboard airplanes. Ca­ terings in castles and mansions may also offer a really outstanding experience. Our clients may choose between modern-day menus or special menus created by considering the rich culinary heritage of the castle or heritage of individual periods of history. Something similar could be said for the reception halls of some Slovenian mu­ seums, city halls, and other public, municipial, or office buildings.

Caterings could also be provided on the stage of Cankarjev dom, in other theatre halls, or in their lobbies. At various openings or inaugurations the facility itself, for example the new bridge, tun­ nel, road or other facility, could be used as the event location. Big­ ger groups may use larger meadows and gardens, parks, forests, forest clearings, or flight decks on ships. Individual facilities of architectural or natural heritage, e.g. hayracks or karst caves, have also offered an opportunity for hosting social occasions with culi­ nary specialities (Images 6 and 7).

A Sustainable Seasonal Diet Our culinary variety adheres to strict standards of preparing food that is not only in season but is also natural and healthy, using se­ veral local suppliers and retailers in the process. Guests at stand-up events can be served with everything from snacks to lunches and dinners. Then there are options with seated meals as well, from selfservice buffets, served meals or complete menus, and of course firstclass (also called gala or elite) self-service or served lunches, dinners and other meals. Combinations are possible, of course, depending on our clients’ preferences and the goals they would like to achieve by hosting individul events and social occasions.

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Pogoj za uspešno pripravo in izvedbo dogodka ali srečanja s pogostitvijo so predvsem želje in pričakovanja naročnika, ki jih v Hiši kulinarike Jezeršek ugotovimo s pomočjo posebnega obrazca, ki vsebuje nujno potrebne podatke, za izdelavo ponudbe.

1. Čas dogodka (datum, ura pričetka, želeni zaključek): 2. Vrsta dogodka: 3. Predvideno število udeležencev, sestava, posebnosti: 4. Obseg dogodka: 5. Vsebinske sestavine dogodka (ustrezno obkrožite): - zajtrk - malica - pogostitev s prigrizki med odmori - brunch - kosilo - večerja - sprejem - glasbeni program - kulturna prireditev - povezanost z izletom, ekskurzijo - ostalo (navedite) Opomba: Naročniku seveda ni potrebno navesti vseh po­ drobnosti dogodka. Dopuščamo tudi možnost našega sve­ tovanja za celostnost dogodka z najbolj optimalnimi vse­ binskimi sestavinami.

6. Želena lokacija: 7. Način/-i postrežbe in tip/-i pogostitve: 8. Izdelava jedilnega lista, ki ga gostje prejmejo kot spo­ minek ob odhodu z dogodka: 9. Vrste in količine pijač: 10. Predlagani ali pričakovani cenovni okvir (EUR/osebo): 11. Svetovanje glede glasbe ali drugih kulturnih programov, nastopov idr.: 12. Temeljni cilj/-i, ki jih želi naročnik doseči z dogodkom: 13. Posebne želje in predlogi ter posebnosti (npr. razmerje z vegetarijanci, razmerje med domačimi in tujimi gosti, posebne zahteve glede določene prepovedane hrane in pijač in podobno).

Why Provide Catered Events?

There are obviously several reasons to organize catered re­ ceptions, events, social occasions and other catering services.

On a personal level there are birthdays, engagements, wed­ dings, anniversaries, and also remembering the deceased by a post-burial feast. Caterings are usually provided at the openings of exhibitions, factories or plants and the facility openings, where business breakfast and lunches may be or­ ganized. Catered brunches are also becoming more and more popular. In between sessions of congress, consultations and working meetings, snacks and refreshments are served (cof­ fee break). Within this framework there are also various ca­terings with light meals. Within the religious framework caterings may be provided for new mass events and festive occasions for various religious communities. Motifs for cate­ ring services are often shown at the openings of new public utility facilities or devices, sports events and various special holidays (e.g. the Feast of St. Martin). We also shouldn’t for­ get about themed celebrations as part of tourist events (e.g. feasts at the castles) or caterings provided for national holi­ days, anniversaries and such.

The conditions for successful preparation and execution of a ca­ tered event or occasion is based above all on our client’s pre­ ferences and expectations, and at the Jezeršek Culinary House this is determined by filling out a special form, containing all the information necessary in order to make an offer.

1. Time of event (date and hour to start, time of desired end): 2. Type of event: 3. Planned number of participants, structure, special features: 4. Event range: 5. Topical features of the event (please circle the appropriate type): - Breakfast - Snack - Snack break - Brunch - Lunch - Dinner - Reception - Musical event - Cultural event - A trip or field trip connected with catering - Other (please specify): Comment: The client doesn’t need to specify all the details of the event. It’s always possible for us to counsel the client in order to ensure intergrity of the event with the finest thematic compo­ nents.

6.Tentative location: 7. Service types and catering types: 8. Preparing a menu for guests to take home as a souvenir 9. Bevereges (type and quantity): 10. Planned budget frame (EUR per person): 11. Counselling about music or other cultural programs, per­ formances, etc...

12. Fundamental goals desired to achieve through the event: 13. Special wishes and suggestions or special features (e.g. number of vegetarians, ratio between foreign and domestic guests, special demands regarding prohibited food or drinks, and so on.)

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Zakaj sprejemi, pogostitve, dogodki?

Vzrokov za organizacijo sprejemov, dogodkov, srečanj in drugih zvrsti s pogostitvami je seveda veliko. Na osebni ravni so to rojstni dnevi, zaroke, poroke in poročne gostije, oblet­ nice porok ter tudi spomin na pokojnike s pogrebščinami.

Pogostitve so običajne na odprtju razstav, objektov, tovarn in naprav, kjer pripravimo delovne zajtrke in kosila ali vedno bolj priljubljeni brunch (pogostitev, ki je enovit nadomestek za zajtrk in kosilo). Med odmori na kongresih, posvetovan­ jih in delovnih srečanjih postrežejo s prigrizki in osvežilnimi pijačami (odmor za kavo). V te okvire sodijo tudi malice in druge oblike pogostitev z lažjimi obroki. V okvirih ver­ skega življenja pripravimo pogostitve ob novih mašah ter prazničnih priložnostih različnih verskih skupnosti. Motivi za pogostitve se pogosto pokažejo ob odprtju novih komu­ nalnih in drugih naprav, ob športnih prireditvah in na raznih posebnih praznikih (npr. ob martinovanju). Ne smemo pa pozabiti na tematska srečanja, ki so lahko sestavina turističnih prireditev (na primer pojedine na gradovih) ali pogostitev ob državnih praznikih ter obletnicah in podobno.

LASERSKE PROJEKCIJE LASER PROJECTIONS Besedilo/Text: Dušan Matičič, Foto/Photo: LSP www.lsp.si

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Laserske projekcije so v slovenskem prostoru še vedno pre­ cej nepoznana dodana vrednost dogodkom, zato naročniki pogosto ne vedo niti, kaj lahko pričakujejo od njih niti kakšne so osnovne zahteve za smiselno in varno uporabo.

Laser projections are in Slovenia still a pretty unknown additional element of events, therefore customers often do not know what to expect or what the basic requirements for reasonable and safe use are.

Laserske projekcije zahtevajo za kakovostno izvedbo kar nekaj predpriprav. Od naročnika se pričakuje, da bo izvaja­ lca laserskih projekcij vključil v projekt dogodka že pri sami zasnovi, saj na ta način lahko zagotovi najboljše rešitve.

Laser projections’ quality performance requires quite some pre­ liminaries. The customer is expected to involve the laser projec­ tion operator in the event project from the very beginning in order to provide for the best possible solutions.

Nekaj poudarkov glede zagotavljanja varnosti ob laserskih projekcijah: - upoštevati moramo uredbo o svetlobnem onesnaževanju, - pri načrtovanju je treba upoštevati prepoved svetenja v območjih preletov letal, - naročnik mora obvestiti uporabnike videokamer in vi­ deoprojektorjev, da bo na dogodku prisoten laser, saj v nas­ protnem primeru lahko pride do poškodb. Ko postavljamo opremo za lasersko projekcijo, poskrbimo, da laserski žarek v nobenem trenutku ne bo dosegel kamer in projektorjev, - laserji, ki jih strokovni izvajalci uporabljajo na dogodkih, ne predstavljajo nevarnosti za človeka, saj so moči naprav premajhne, poleg tega pa se moč izgublja. Prehodi žarkov so tako hitri, da jih človeško oko skoraj ne zazna.

Some key emphases to ensure safety for laser projections: - take into account the regulation on light pollution, - during preparation, take into account the prohibition on lighting in overflight areas, - the customer has to notify camera and video projector users that there will be a laser at the event, since it may otherwise lead to injuries; when setting up laser projection equipment, be careful that the laser beam will not reach the cameras and projectors, - lasers used by professional operators at events are not danger­ ous for people, as the device’s powers are too small and power gets lost; beam transitions are so fast that the human eye can almost not notice them.

Vrste uporabe laserjev na dogodkih: Grafična projekcija Na raven medij (platno, zid, skala, vodna zavesa ipd.) izva­ jalec z laserjem riše sliko. Vsi liki so praviloma sestavljeni iz črt, iz katerih je možno narisati poljubno sliko, logotip ali animacijo, ustvarimo pa lahko tudi kompleksne 3D animacije. V primerjavi z videoprojekcijami obstaja razlika predvsem pri omejitvi v oddaljenosti od platna in ostrini slike. Pri laserskem projektorju je namreč razdalja poljubna.

Možna je tudi pretvorba videoposnetka v lasersko sliko v realnem času ali obdelava obstoječega videoposnetka. Žarkovna projekcija (beam show ) Upravljalec laserja riše laserske žarke in ravnine, ki leb­ dijo in se premikajo po prostoru nad ljudmi, največkrat v povezavi in v skladu z glasbeno podlago. Za dober učinek laserskih ravnin mora biti v prostoru tema, saj s tem gledalci izgubijo občutek za prostor in dojamejo projekcijo precej bolj doživeto. Žarkovna projekcija lahko skupaj z video­ projekcijo, razsvetljavo in glasbo ustvari celovit dogodek, ki poteka v živo.

Types of laser uses at events: Graphic projection With the laser the operator paints a picture onto a straight sur­ face (canvas, a wall, a rock, water curtain etc.). All elements are typically composed of lines that can draw any picture, logo or animation, and even create complex 3D animations. The main difference between the laser and video projection is the limita­ tion in the distance from the canvas, and the picture sharpness; the laser projector can be used at any distance. It is also possible to convert a video into a laser picture in real time or to process the given video.

Beam projection (beam show) The laser operator draws beams and planes floating and moving in the space above people, usually accompanied by and according to music. To ensure a good effect of laser planes it has to be dark; people thus lose the feeling of space and ex­ perience the projection in a more lively way. Beam projection together with video projection, lighting and music can create a full life event.

Preparing animation material For a successful implementation of a project, it is of key impor­ tance to carefully prepare the material for the laser animation.

Graphic production and animation are much more demanding than video montages, therefore the material has to be delivered early enough for processing. The production and preparation of demanding animations can take from one week to one month depending on the complexity of the project. When the project is designed and confirmed, only small amendments can be made, thus regular communication between the customer and the laser projection operator during the preparation is essential.

Suitable formats for graphic laser projections: - most suitable: AI (Adobe Illustrator), CDR (CorelDraw), SWF (Flash), TTF (fonts), MAX (3D studio Max), STEP (3D CAD programmes), DXF and DWG (Autocad), - acceptable: PDF, WMF, PS, - bad: BMP, PNG and other low resolutions, - practically useless: JPG.

Vodna zavesa Na dogodkih je zanimiv vizualni dodatek tudi vodna za­ vesa širine do 18 metrov in poljubne višine. Na zaveso lahko projiciramo animacijo z laserjem ali z običajnim videopro­ jektorjem. Uporabna je tudi kot dekorativni element ali za delno ločitev prostorov. Postavimo jo lahko v zaprtem ali odprtem prostoru, poleg običajne padajoče vodne zavese pa se na odprtem uporablja tudi pahljačasto zaveso s curkom vode iz tal navzgor. Doseže višino do 8 metrov in širino do 16 metrov.

Water curtain A water curtain of 18 metres width and any height is an at­ tractive additional visual element at events. Animations can be projected on the curtain with a laser or a classic video projec­ tor. It can be used as decoration or as partly space separation; it can be placed inside or outside. Besides the classic falling water curtain, also a fan-like water curtain with jet of water erup­ ting from the floor can be used outside. It can reach a height of 8 metres and a width of 16 metres.

Žarkovna prijekcija / Beam show

Laserska ravnina / Laser plain

Vodna zavesa / Water curtain

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Priprava materiala za animacijo Predpriprava gradiva za lasersko animacijo je ključnega pomena za uspešno realiziran projekt. Grafična produkcija in animacija sta na področju laserskih projekcij bistveno bolj zahtevni kot videomontaža, zato morajo biti gradiva dostavljena v obdelavo toliko prej. Izdelava in priprava zahtevnih animacij lahko traja od enega tedna do enega meseca, odvisno od zahtevnosti projekta. Ko je projekt izdelan in potrjen, so možni le manjši popravki, zato je red­ no sodelovanje med naročnikom in ponudnikom laserskih projekcij nujno.

Ustreznost formatov za grafične laserske projekcije: - najbolj ustrezni: AI (Adobe Illustrator), CDR (Corel­ Draw), SWF (Flash), TTF (fonti), MAX (3D studio Max), STEP (3D CAD programi), DXF in DWG (Autocad), - sprejemljivi: PDF, WMF, PS, - slabi: BMP, PNG in druge nizke resolucije, - praktično neuporabni: JPG.

OGNJEMET FIREWORK Besedilo/Text: Marjan Mesec, Hamex, Foto/Photo: Hamex www.hamex.si

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Med presežke dogodkov in prireditev med drugim spada­ jo svetlobni učinki in eden najučinkovitejših je ognjemet, zasnovan in izveden po željah naročnika. Za uspešen og­ njemet so potrebne zahtevne priprave, izkušnje, vrhun­ ska tehnična opremljenost in kakovostni izdelki.

If we want to make an event even more appealing to the public, we may use light effects, and one of the most efficient is firework, designed and realized according to the customer’s wishes. A successful firework requires extensive preparation, ex­perience, advanced technique equipment and quality products.

Za izvedbo ognjemeta izberemo izvajalca s tujimi in domačimi referencami, čemur sledi pogovor glede zakon­ skih predpisov, ki točno določajo kakšen, kdaj in kako lahko ognjemet pripravimo. Z izkušenim izvajalcem bomo izbrali primerno vrsto ognjemeta glede na razpoložljivi znesek, zmožnost izstrelišča in vrsto dogodka.

To throw a firework, we have to choose a contractor with re­ ferences at home and abroad and then consider legal regulations that define in detail what kind of firework we can set off, where and when. With the help of an experienced contractor, we will be able to choose an appropriate type of firework considering the available amount of money, the possibility of the firework launch area and the type of the event.

Zakonska podlaga V Pravilniku za izvajanje ognjemetov (Uradni list RS št.

104/2008) v 2. členu piše: »Izvajanje ognjemetov je pri­ prava in izvedba pirotehničnih učinkov po naročilu ali vsaka uporaba pirotehničnih izdelkov kategorije 3, ki jih lahko uporabljajo le strokovno usposobljene osebe, ter kat­ egorij 4, T2 in P2«. Strokovna usposobljenost izvajalcev in potrebna dovoljenja pravne osebe so določena v Zakonu o eksplozivih in pirotehničnih izdelkih - ZEPI (Uradni list RS št. 35/2008). Za ognjemet, ki ga lahko pripravi vsaka fizična oseba, se lahko uporablja vse izdelke kategorij 1, 2, T1, P1 in kategorijo 3 z določenimi omejitvami.

Glede časa izvedbe 5. člen pravilnika pravi: »Izvajanje ogn­ jemeta mora biti zaključeno najkasneje do 22.00 ure, razen kadar pristojni upravni organ v dovoljenju za izvedbo javne prireditve v okviru programa prireditve dovoli organiza­ torju izvedbo ognjemeta v kasnejšem času«.

V bližini letališč, bolnišnic, zdravilišč, okrevališč, objektov z lahko vnetljivimi snovmi in podobno moramo upoštevati večji varnostni odmik ali pa mora izvajalec pridobiti soglasje pristojnih ministrstev. Ognjemet je prepovedano izvajati, če piha veter v kateri koli smeri s hitrostjo nad 40 kilometrov na uro, merjeno dva metra nad tlemi izstrelišča.

Dokumentacija Naročnik mora od izvajalca ognjemeta pridobiti elaborat o izvedbi ognjemeta. Pri organizaciji javne prireditve ga

Legal basis Article 2 of the Rules on lighting fireworks (Official Gazette, Ur.l.

No. 104/2008) says: “Lighting fireworks is the preparation and laun­ching of pyrotechnic effects to order, or any kind of use of py­ rotechnic products of category 3 that can be used only by qualified professional persons, and of categories 4, T2 and P2”. The necessary qualifications of the contractors and the necessary authorizations of the legal person are as defined in the Explosive Substances and ­Pyrotechnic Products Act (Official Gazette, Ur.l. No. 35/2008).

For fireworks that any person may launch, all products of categories 1, 2, T1, P1 and category 3 with certain restrictions can be used.

As regards the launching time, Article 5 says: “The lighting of a firework has to end until 22.00 the latest, except if the com­ petent administrative authority in its authorization for the implementation of a public event within the event programme authorizes the firework lighting to a later hour.”

Near airports, hospitals, spas, health resorts and objects with highly flammable substances, we have to keep a bigger safety distance or the operator must obtain the consent of the competent ministries. It is forbidden to set off a firework if the wind is blowing in any direction with a speed of over 40 km per hour, measured two metres above the firework launch area.

Documentation requirements The contract giver must obtain from the operator a study of the ­realization of the firework. When organizing a public event, it has

skupaj s svojo vlogo za izvedbo prireditve posreduje na pristojno upravno enoto, pri zasebni prireditvi pa ga obdrži zase. V obeh primerih je naročnik dolžan poznati vsebino elaborata. Ob vsaki izvedbi ognjemeta morata biti prisotni potrebna gasilska straža in varnostna služba, ki varuje dos­ top nepoklicanim v območje varnostnega območja.

to be handed in together with the application for a public event to the relevant administration unit; in case of a private event the contract giver keeps it for himself. In both cases, the contract giver must be familiar with the contents of the study. Every firework re­ quires the presence of fire and security services that prevent persons without authorization from entering the security area.

Vrsta ognjemetov Poznamo klasične ognjemete z ročnim oz. analognim prižiganjem, računalniško oz. digitalno sprožene ognjemete in ognjemete, ki so sinhronizirani z glasbo – »piromusical«.

Klasični ognjemeti se izstreljujejo z manjšega točkovnega izstrelišča, računalniško oziroma digitalno sproženi og­ njemeti in »piromusicali« pa se izstreljujejo iz dolgih izstrelišč, kot so stadioni, dolge ravne strehe, dolgi splavi, dolgi travniki, ceste in podobno. S tem je možno v zraku uprizoriti pravo igro oziroma gibanje ognja, poleg tega pa je takšen ognjemet mnogo širši kot klasični točkovni ognjemet.

Types of fireworks There are classical fireworks using manual or analogical igni­ tion, others using computerized or digital ignition and fire­ works synchronized with music – ‘pyromusicals’.

Classical fireworks are being launched from a smaller point launch area, while fireworks using computerized or digital ig­ nition and pyromusicals are set off from long launch areas, such as stadiums, long straight roofs, rafts, meadows, streets or other similar places. Thus, it is possible to make a real game and fire movement in the air and such a firework is much larger than a classical firework.

Kaj je najbolj PRIVLAČNO za gledalce? Čas posamičnega prižiganja skoraj enakih okroglih kitajskih bomb iz ene točke je minil. Sodobni ognjemet vključuje vsaj polovico evropskih pirotehničnih izdelkov, ki se od manj kakovostnih ločijo po obliki efektov v zraku (polipi, metulji, krone, krone s pestiči, večstopenjske bombe), čistejših bar­ vah ter manj dima. »Piromusicali« in računalniško oziroma digitalno sproženi ognjemeti spadajo med najatraktivnejše, saj gledalec ve, kaj sledi vsakemu predhodnemu efektu in se s tem vživi v tempo in scenarij ognjemeta.

What is most appealing to spectators?

Times, when almost identical Chinese round bombs were set off individually from one point, are over. Contemporary fire­ works include at least a half of European pyrotechnic products, which differ from the lower quality products in the forms of the effects in the air (polyps, butterflies, crowns, crowns with pistils, multi-stage bombs), clearer colours and less smoke. Py­ romusicals and fireworks using computerized or digital igni­ tion are among the most attractive, since the spectator knows what follows every effect and thus settles more into the pace and scenario of the firework.

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SANITARIJE SANITATION Besedilo/Text: Bernarda Košec, Vigrad, Foto/Photo: Vigrad www.vigrad.si

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Na vseh prireditvah, kjer se ljudje dalj časa zadržujejo na prostem, je problem sanitarij mogoče zadovoljivo rešiti s postavitvijo mobilnih WC kabin, ki so higienična in okolju prijazna rešitev.

At all outdoor events where people are mostly staying in the open the sanitation problem can be efficiently solved by the help of mobile WC or sanitary cabins, which represent a hygienic and environment-friendly solution.

Za postavitev mobilne WC kabine je predpogoj ravna podlaga in dostop za dostavno ali servisno vozilo. WC kabina deluje brez priključitve na vodo ali kanalizacijo, kot kemijsko zaprt sistem z vgrajeno posodo za fekalije (greznico) z greznično tekočino, ki ob prijetnem vonju de­ luje dezinfekcijsko.

Streha WC kabine je prosojna in zagotavlja osvetljenost notranjosti. Vse kabine so enotno opremljene, pogosto pa se na prireditvah fizično ločijo na ženske in moške z na­ lepko na vratih.

Na prireditvah se mobilno WC kabino običajno upo­ rablja od enega do treh dni. Najem vključuje dostavo, postavitev in zaključno vzdrževanje. Pri najemu nad štiri dni je potrebno še vmesno vzdrževanje, pri katerem stro­ kovno usposobljeno osebje vsebino greznice izprazni, kabino očisti in dezinficira, oskrbi s toaletnim papirjem in greznično tekočino, fekalije odstrani in jih odloži na čistilno napravo. Pri vzdrževanju se uporabljajo izključno sredstva, ki so neškodljiva za okolje.

If you want to install a mobile WC cabin the ground should be even and should allow access to delivery or service vehicles. The WC cabin functions without the help of water or canalization.

It is a chemically closed system with an in-build faeces container filled with scented sump fluid meant for disinfection.

The cabin’s transparent roof ensures lighting by letting in daylight. Although all cabins are equally equipped, they are usually marked with a “Ladies’” or “Gents’” sign on the front door.

At public events mobile WC cabins are normally used from one to three days. Hiring includes delivery, installation and con­ cluding maintenance. In case of hiring a cabin for more than four days, intermediate maintenance is also necessary to ensure emptying the faeces container, overall cleaning and disinfection of the cabin, as well as the supply of fresh sump fluid and toilet paper. The faeces are then removed and disposed at the purifying plant. All cleaning agents used during maintenance are envi­ ronmentally friendly.

Kako zagotoviti ustrezno število mobilnih WC kabin Pred odločitvijo o številu kabin moramo upoštevati pričakovano število obiskovalcev prireditve, trajanje prire­ ditve, uživanje alkoholnih pijač in pričakovano število obis­ kovalk ženskega spola.

Izhodišče predstavlja normativ, ki določa, da za približno 80 obiskovalcev potrebujemo najmanj eno WC kabino, če prire­ditev traja več kot eno uro. O številu kabin se je smisel­ no posvetovati z izvajalcem tovrstnih storitev.

Ensuring a sufficient number of mobile WC cabins Before accepting decisions on the number of cabins we need to calculate the estimated number of visitors, specify the number of female visitors, take into consideration the duration of event and estimate the alcohol intake.

The decision about the number of cabins should be based on the standard norm which prescribes at least one cabin on every 80 visitors if the duration of the event is more than one hour. It is best to consult the supplier or service provider before accepting final decisions.

Tipi mobilnih WC kabin - Osnovni tip WC kabine se najpogosteje uporablja za množične prireditve, kot so koncerti in športni dogodki.

- WC kabina z umivalnikom je nadgradnja osnovnega tipa, ki nudi več udobja in omogoča boljše počutje uporabnikov.

- Mobilna WC kabina VIP vsebuje še umivalnik s tekočo vodo, dodatni odlagalni prostor in lepši videz notranjosti.

Primerna je za zahtevnejše uporabnike in prireditve na višji družbeni ravni.

Different types of mobile WC and sanitary cabins - Basic WC cabin type is normally used for mass public events, such as concerts or sport events.

- Sanitary cabin is an upgrade of the basic type of cabin that facilitates the use and offers more comfort.

- Mobile WC cabin VIP includes a hand-wash basin with run­ ning water, extra shelves and more elegant furnishings. It is

meant for more demanding users and higher-class events.

- WC cabin DISABLED ensures access and use to people on wheelchairs.

- Mobile toilet or shower units are a contemporary sanitary so­ lution for bigger events, which only need electricity for operation.

Najem mobilne WC kabine poiščimo pri zanesljivem ponudniku Najem mobilne WC kabine je preprosta in učinkovita rešitev. Dokazano je, da ljudje ob zadregi zaradi zado­ voljitve bioloških potreb prej zapustijo prireditveni prostor, kot v primeru, ko se s takšnimi zadregami ne soočajo. Pri odločitvi o tovrstnih storitvah je zlasti pomembno, da iz­ beremo kakovostnega in zanesljivega izvajalca, ki poskrbi za zadovoljstvo zahtevnih uporabnikov, kajti zadovoljen uporabnik je tisti, od katerega je odvisen uspeh prireditve.

Finding a reliable supplier Hiring a mobile WC cabin is a simple, but eff icient solution.

It has been proved that people are sooner to leave the scene of an event if embarrassed by a physiological need, than in cases when these demands have been taken care of. When hiring WC cabins it is highly important to choose a reliable supplier who will provide his services with the aim of satisfying even the most demanding users. Satisf ied users are the key to a successful event!

Pri izbiri izvajalca moramo upoštevati:

When choosing a supplier we have to consider the following:

- organiziran prevoz in servis WC kabin, - zadostno zalogo WC kabin, - pozitivno strokovno mnenje Inštituta za varovanje zdravja Republike Slovenije, - atest za greznično tekočino, - izkušnje na področju prireditev, - 24-urno dežurstvo, - certifikat kakovosti.

- organized delivery and service, - sufficient amount of WC cabins in stock, - positive expert opinion of the Institute for Health Protection Slovenia, - sump liquid attestations, - experience in the field of event organizing, - 24-hour service, - quality certificates.

WC kabine so higienična in okolju prijazna rešitev. / WC cabins are hygienic and enviroment-friendly solution.

Mobilna toaletna prikolica / Mobile toilet or shower

VIP mobilna WC kabina / VIP mobile WC cabin

133 PRIROCNIK / MANUAL

- WC kabina INVALID omogoča dostop in uporabo ose­ bam na invalidskem vozičku.

- Mobilna toaletna prikolica je sodobna sanitarna rešitev za prireditve, ki za delovanje potrebuje zgolj vir električne energije.

VAROVANJE SECURITY Besedilo/Text: Danijel Kovač, vodja prireditev/Event Manager, Sintal, Foto/Photo: Sintal www.sintal.si

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Varnost je izjemnega pomena na prireditvah, zato mora biti varnostno-rediteljska služba izkušena v varovanju vseh vrst prireditev. Varnostniki in gasilci morajo biti strokovno usposobljeni za varovanje javnih zbiranj, biti urejenega videza in prireditvi ustrezno uniformirani.

Varnostno-rediteljska služba nudi naročniku izvedbo ce­ lovite in kakovostne storitve varovanja od svetovanja pri načrtovanju prireditve, izdelave varnostnega načrta do iz­ vedbe varovanja na celotnem območju Slovenije. Naloge opravlja profesionalno, strokovno in v skladu z veljavno za­ konodajo, ob tem pa v največji možni meri prisluhne željam in potrebam naročnika.

Aktivnosti, pomembne za uspešno izvedbo varovanja prireditve - Stik izvajalca varovanja z naročnikom za pridobitev po­ datkov o vrsti in obsegu prireditve.

- Dobro načrtovanje prireditve, pri katerem izvajalec va­ rovanja poda strokovno mnenje o zadevah, ki vplivajo na kakovost varovanja (število obiskovalcev in vozil, način prodaje vstopnic, izbira prireditvenega prostora, ureditev prizorišča, dostopnih poti in parkirišč, način prihoda in odhoda obiskovalcev ter nastopajočih, postopki v primeru incidentov in podobno).

- Ogled prireditvenega prostora, na podlagi katerega se določi predvideno število varnostnikov, rediteljev in gasilcev.

- Izdelava varnostnega načrta, v katerem so opredeljeni varovanje prireditve, požarna varnost, organizacija prve pomoči, organiziranje prometne ureditve, potrebno število rediteljev, varnostnikov, gasilcev, reševalcev in drugega osebja. Na podlagi načrta, potrjenega s strani upravne enote, dobi naročnik dovoljenje za izvajanje ja­ vnega zbiranja.

- Priprava na prireditev, ki obsega tudi varovanje prire­ ditvenega prostora in zaščito prireditvene opreme pred začetkom dogajanja, postavljanje zaščitnih ograj in var­ nostnih koridorjev, postavitev usmerjevalnih in informa­ tivnih tabel, zagotavljanje nemotenega dela službam prire­

Security services play an extremely important role at events, the security and stewarding services need to be experienced at safeguarding all types of events. The security officers and firefighters have to be professionally qualified to protect public gatherings, they also need to be tidy in appearance and wear a uniform suitable for the event.

The security service provides the client with an integral and quality security service, incorporating counselling while planning the event, creation of the security plan and security service execu­ tion anywhere in Slovenia. The tasks are carried out in a profes­ sional way, with expertise and in accordance with current legis­ lation. In addition, our security service strives to accommodate the wishes and needs of our clients to the highest degree possible.

Activities, Essential For a Successful ­Exe­cution of Event Security Service - The security service provider contacts the client in order to gain information on the type and extent of the event.

- The event needs to be well-planned, the security service pro­ vider offers a professional opinion on areas that influence the quality of security (number of visitors and vehicles, the man­ ner of selling the tickets, the choice of the event venue, the ar­ rangement of venue, available routes and parking, the manner of ­arrival and departure of visitors and performers, procedures in case of incidents).

- Preview the event venue, in order to estimate the number of security officers, stewards and firefighters that will be required.

- Establishing the security plan which incorporates the event security, fire safety, organization of first aid, traffic planning, the necessary number of stewards, security officers, firefighters, paramedics and other personnel is defined. On the basis of this plan which is certified by the local administrative unit, the cus­ tomer receives the licence to execute public gathering.

- Preparation for the event involves: safeguarding the event venue and protection of the equipment prior to the start of the event, setting up security railings and safety corridors, positio­ ning appropriate directional signposts and infopanels. The aim is to provide a smooth functioning event management service

ditelja in zagotovitev dostopa nastopajočim in ostalim pomembnejšim gostom.

- Kakovostna izvedba storitve varovanja, ki poleg posre­ dovanja v primeru izgredov zajema tudi preventivno opo­ zarjanje in nadzor nad obiskovalci, izločanje nedovoljenih predmetov, pregled vstopnic, usmerjanje na ustrezna mesta v prireditvenem prostoru, varovanje nastopajočih in poseb­ nih gostov ter usklajevanje z reševalci, gasilci in ostalimi tehničnimi službami.

- Ob zaključku prireditve varnostna služba zagotovi miren razhod obiskovalcev, poskrbi za varen odhod morebitnih posebnih gostov in nastopajočih, zavaru­ je prizorišče v času pospravljanja opreme in pospravi zaščitno opremo. that includes free and easy access for the performers and distin­ guished guests.

- Quality security service in addition to an intervention plan in case of riots encompasses: preventive warning and surveillance of visitors, elimination of unauthorised objects, checking the tickets, escortation of visitors to suitable and designated areas of the event venue, protecting the performers and special guests, and coordinating the work of the paramedics, firefighters and other technical services staff.

- At the conclusion of the event the security services ensure a peaceful departure from the venue and provide a safe depar­ ture for special guests and performers. The security service secures the venue after the event while the equipment is being packed away. They pack away the security equipment.

Imenik / Ca talogue

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GR Inženiring d.o.o.

Eventim Si d.o.o.

Dunajska cesta 10, p.p. 3558 SI-1000 Ljubljana, Slovenija Tel.: +386 1/300 26 16 Faks/Fax: +386 1/300 26 48 E-pošta/E-mail: info@gr-i.si Splet/Web: www.gr-i.si Dejanvnost/Activity: Sejemske konstrukcije / Constructions for fairs

Celovška cesta 25 SI-1000 Ljubljana, Slovenija Tel.: +386 1/420 50 00 Faks/Fax: +386 1/430 24 06 E-pošta/E-mail: info@eventim.si Splet/Web: www.eventim.si Dejanvnost/Activity: Ticketing

Birt d.o.o., Velenje

Expo Biro d.o.o.

Cesta Františka Foita 8 3320 Velenje, Slovenija Tel.: +386 3/ 897 67 40 Faks/Fax: +386 3/ 897 67 43 E-pošta/E-mail: info@birt.si Splet/Web: www.birt.si Dejanvnost/Activity: Marketing

Miklavška cesta 57 SI-2311 Hoče, Slovenija Tel.: +386 2/480 58 00 Faks/Fax: +386 2/480 58 20 E-pošta/E-mail: info@expobiro.si Splet/Web: www.expobiro.si Dejanvnost/Activity: Šotori in odri za prireditve / Event tent and stands solutions

Agencija Antonov, Bojan Rojko s.p.

Festival Novo Mesto d.o.o.

Ulica bratov Učakar 40 SI-1000 Ljubljana, Slovenija Mob.: +386 40/ 612 111 E-pošta/E-mail: bojan.rojko@agencija-antonov.si Splet/Web: www.agencija-antonov.si Dejanvnost/Activity: PR agencija / PR agency

Novi trg 10 SI-8000 Novo Mesto, Slovenija Tel.: +386 7/302 01 44 E-pošta/E-mail: info@festival-nm.com Splet/Web: www.festival-nm.com Dejanvnost/Activity: Ozvočenje in razsvetljava / Sound and light provider

Interplan d.o.o.

Stara Vrhnika 161 SI-1360 Vrhnika, Slovenija Tel.: +386 1/755 77 75 Faks/Fax: +386 1/755 15 30 E-pošta/E-mail: info@hamex.si Splet/Web: www.hamex.si Dejanvnost/Activity: Ognjemet in pirotehnika / Fireworks and pyrotechnic solutions

Zgornje Pirniče 71/C SI-1251 Medvode, Slovenija Mob.: +386 41/ 667 563 Tel.: +386 1/362 32 55 Faks/Fax: +386 1/362 32 45 E-pošta/E-mail: info@interplan.si Splet/Web: www.interplan.si Dejanvnost/Activity: Video produkcija in projekcije / Video production and projection

Inpro d.o.o. Novo Mesto

Izid d.o.o.

Loke 4 SI-8351 Straža, Slovenija Tel.: +386 7/308 48 50 Faks/Fax: +386 7/308 48 51 E-pošta/E-mail: info@klimarent.com Splet/Web: www.klimarent.com Dejanvnost/Activity: Mobilni klima sistemi / Mobile air-conditioning systems

Industrijska ulica 2 SI-4270 Jesenice, Slovenija Mob.: +386 31/ 608 833 Faks/Fax: +386 1/242 83 50 E-pošta/E-mail: tvengar@izid.net Splet/Web: www.bigscreens.si Dejanvnost/Activity: LED zasloni / LED screens

Inter Expo d.o.o.

Jezeršek gostinstvo d.o.o.

Slovenja vas 75 SI-2250 Ptuj, Slovenija Tel.: +386 2/787 59 10 Faks/Fax: +386 2/783 90 34 E-pošta/E-mail: posta@interexpo.si Splet/Web: www.interexpo.si Dejanvnost/Activity: Preproge / Carpets

Sora 1/A SI-1215 Medvode, Slovenija Tel.: +386 1/ 361 94 23 Faks/Fax: +386 1/ 361 36 31 E-pošta/E-mail: info@jezersek.si Splet/Web: www.jezersek.si Dejanvnost/Activity: Catering

137 Imenik / Ca talogue

Hamex d.o.o.

Imenik / Ca talogue

138

LSP d.o.o.

Sintal d.d.

Na postajo 34 SI-1315 Velike Lašče, Slovenija Mob.: +386 41/ 612 915 Faks/Fax: +386 1/788-98-41 E-pošta/E-mail: info@lsp.si Splet/Web: www.laser-lsp.com Dejanvnost/Activity: Laserske projekcije in dogodki / Laser show production

Litostrojska cesta 38 SI-1000 Ljubljana, Slovenija Tel.: +386 1/513 01 00 E-pošta/E-mail: komerciala@sintal.si Splet/Web: www.sintal.si Dejanvnost/Activity: Varnost na dogodku / Event security

Program IN d.o.o.

Vigrad d.o.o. Celje

Slovenčeva ulica 125 SI-1000 Ljubljana, Sovenija Mob.: +386 40/131 333 Mob.: +386 40/717 177 Faks/Fax: +386 1/565 33 64 E-pošta/E-mail: program@siol.net Splet/Web: www.programin.si Dejanvnost/Activity: Plinski grelci / Gas heaters

Kocbekova cesta 30/A SI-3202 Ljubečna, Slovenija Tel.: +386 3/780 08 26 Mob.: +386 41/ 381 379 Fax: +386 3/780 08 25 E-pošta/E-mail: damjan.udovc@vigrad.si Splet/Web: www.vigrad.si Dejanvnost/Activity: Mobilne sanitarne rešitve / Portable toilets solutions

Silveco, Studio Orca

Visco vidna komunikacija d.o.o.

Savska 10 SI-1000 Ljubljana, Slovenija Tel.: +386 1/420 57 20 Tel.: +386 1/420 57 21 Tel.: +386 1/420 57 22 Tel.: +386 1/420 57 23 Faks/Fax: +386 1/420 57 25 E-pošta/E-mail: studio.orca@silveco.com Splet/Web: www.silveco.si Dejanvnost/Activity: Dizajn in tisk / Design and print

Litostrojska cesta 44/C S-1000 Ljubljana, Slovenija Mob.: +386 31/712 700 E-pošta/E-mail: info@visco.si Splet/Web: www.visco.si Dejanvnost/Activity: Led zasloni / LED screens

Prozvok d.o.o.

Kino Sora d.o.o.

Mestni trg 16 SI-4220 Škofja Loka, Slovenija Tel.: +386 4/511 23 44 Faks/Fax: +386 4/511 23 18 E-pošta/E-mail: sokolskidom@skofjaloka.si Splet/Web: www.sokolskidom.si Dejanvnost/Activity: Prostor za prireditve / Event venue

Mavsarjeva cesta 26 SI-1357 Notranje Gorice, Slovenija Mob: +386 31/ 364 000 Tel.: +386 1/365 26 57 Faks/Fax: +386 1/365 26 57 E-pošta/E-mail: info@prozvok.com Splet/Web: www.prozvok.com Dejanvnost/Activity: Začasne odrske rešitve / Temporary stage solutions

Grad Jable

Event Lighting

Ustanova – Center za evropsko prihodnost Grajska cesta 1 SI-1234 Mengeš, Slovenija Tel.: +386 1/560 86 00 Faks/Fax: +386 1/560 86 01 E-pošta/E-mail: info@jable.si Splet/Web: www.jable.si Dejanvnost/Activity: Prostor za prireditve / Event venue

Jernej Guštin s.p.

Bežigrad 6 SI-1000 Ljubljana, Slovenija Mob.: +386 40/ 636 380 Faks/Fax: +386 1/ 436 95 42 E-pošta/E-mail: info@event-lighting.si Splet/Web: www.event-lighting.si Dejanvnost/Activity: Razsvetljava / Lighting solutions

Balaram d.o.o.

Festival Ljubljana

Černetova ulica 11 SI-1000 Ljubljana, Slovenija Tel.: +386 (0) 59 033 366 Faks/Fax: +386 (0) 59 033 367 E-pošta/E-mail: info@balaram.si Splet/Web: www.balaram.si Dejanvnost/Activity: Socialno podjetništvo, razvoj in poslovno svetovanje / Social enterprise, development and business consulting

Trg Francoske revolucije 1 SI-1000 Ljubljana, Slovenija Mob.: +386 51/ 335 654 Tel: +386 1/241 60 00 Faks/Fax: +386 1/241 60 37 E-pošta/E-mail: info@ljubljanafestival.si Splet/Web: www.ljubljanafestival.si Dejanvnost/Activity: Prostor za prireditve / Event venue

139 Imenik / Ca talogue

Sokolski dom Škofja Loka

KJERKOLI, KADARKOLI, BREZ ZADREGE

NAJEM BIVALNIH, SKLADIŠČNIH IN SANITARNIH ENOT

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NAJEM MOBILNIH WC KABIN NAJEM SANITARNIH PRIKOLIC

ČE ME , Š E J U B POTRE ...

I Č I L K PO

03 7800 820 :telefon 03 7800 821 :fax info@vigrad.si :e-pošta www.vigrad.si :web

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Ne bodite muha enodnevnica. Promovirajte sami sebe - naj si vas zapomnijo! Utrdite svojo zunanjo podobo in pokažite kdo ste! Že vrsto let uspešno delujemo na področju grafičnega oblikovanja, izdelave vseh vrst tiskovin, reklamnih napisov, reklamnih tabel, transparentov in dekorativnih napisov na izložbenih površinah.

Specializirani smo za pripravo in tisk vseh personaliziranih toskovin, s katerimi nudimo sodobnejšo tiskano komunikacijo podjetjem, ki se ukvarjajo z organizacijo raznih prireditev in dogodkov.

Sodelujemo na uveljavljenih prireditvah širom Slovenije, na katerih postavljamo najrazličnešje vizuale. Tu so vključene odrske postavitve, sejmi, prireditve, itd.,...

Pri nas vam bomo prisluhnili in vam z veseljem pomagali ... www.silveco.com 01/420 57 20

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Za velike obletnice - šotor Mega

Pogled v nebo - prozorna strešna platna Ko razširimo krila - platno Starship

20 let izkušenj in zaupanja ... za Vašo večjo originalnost ... ... Vaš EXPO BIRO ...

Simfonija v belem - interier

Zunanjost ledenega bara šotor Zendome

Rastemo v višino - variacije nadstropnih šotorov

In naj se igre pričnejo - asortiman montažnih tribun

Prizorišče pokala Vitranc - celovita montažna sfera

NOV

O

Nove smernice - šotor Alpin, pregladek za sneg

// Okusiti Slovenijo, okusiti dogodek / Taste Slovenia, Taste the Event > 06 / Ko dogodek potrebuje streho­/­When an Event Needs a Roof > 20 / Zvok izpod rok strokovnjakov iz zakulisja / Professional Sound from behind the Scenes > 32 / Od idejne zasnove do popolne izvedbe / Froma a Mere Concept to a Perfect Realization > 54 / Ambasadorji slovenske kulinarike / Ambassadors of Slovenian ­Cuis­i­­ne­­> 84 / Priročna védenja za organizatorje / Useful Know­­le­d­ge for the Organizers > 98