As the official Technical Production Partner and sponsor for 2026, we supported a packed two-day programme at DoubleTree by Hilton Glasgow Central, including keynote presentations, breakout sessions, an exhibition and the Scottish Fundraising Awards.

THE BRIEF

Our brief was to deliver the technical production for a conference that needed to change shape throughout each day, accommodating two keynote speakers and 56 individual sessions across eight breakout rooms. The main plenary presented a particular challenge. It needed to operate as one large presentation space before being divided into two breakout rooms during the morning coffee break.

And when the conference programme finished, it was time for another transformation: turning the plenary back into one room for an awards dinner, complete with nominee videos, winner announcements, live entertainment and a ceilidh. All while keeping the conference running smoothly for delegates and presenters.

WHAT WE DID

We built a conference that could change shape as quickly as the programme demanded. In the main plenary, we installed fully carpeted staging and two 4m x 2.5m LED walls to provide a visual backdrop for the keynote presentations. A dedicated PA system, microphone package, lectern and comfort monitor supported the speakers, while stage lighting and branded uplighting completed the room.

As delegates headed out during the morning break, our crew reconfigured the plenary into two separate breakout spaces, splitting the stage and adapting the technical setup. Each room retained its own LED wall, presentation facilities and audio system, ready for the next sessions.

Across the wider conference, we equipped all eight breakout rooms with PA systems, microphones, lecterns and laptops. Dedicated technicians supported presenters and managed the technical requirements of each session, helping keep the programme of 56 individual sessions on track.

When the conference finished, the next production began. Our team brought the plenary back together for the Scottish Fundraising Awards, reinstating the central stage section and introducing black draping to create a new setting for the evening. The two LED walls were repurposed to display nominees, winners and video content showcasing their charity work. Lighting was adapted for the awards ceremony before shifting again to support the ceilidh band and DJ. Background music accompanied dinner, with award stings punctuating the announcements and giving each winner their moment in the spotlight.

THE RESULT

The flexible technical setup allowed the same spaces and equipment to serve several different purposes throughout the two-day event, while dedicated technicians supported the conference programme across all eight breakout rooms.

By the evening, the main plenary had been transformed into a celebration of Scotland’s fundraising achievements, with the production bringing together presentations, nominee videos, winner announcements and live entertainment.

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THE BRIEF

The brief was to create a 360-degree laser installation from the hotel rooftop, giving the launch a visual presence across Edinburgh.

Its location presented a significant technical challenge. With W Edinburgh sitting within a complex aviation environment and large areas of the projection zone intersecting with the final descent into Edinburgh Airport, the installation needed careful planning and coordination.

WHAT WE DID

We installed 12 IP65 32W Nova RGB lasers, positioned evenly around the rooftop to create uninterrupted 360-degree coverage. Working closely with Edinburgh Air Traffic Control, we mapped individual projection zones, elevations, NOHD and SZED distances to ensure the installation could operate safely within the surrounding airspace.

Almost 270 degrees of the potential projection area crossed the final descent path into Edinburgh Airport, making precision and communication essential throughout planning, testing and live operation. The system was designed to maintain the full 360-degree effect across both the test and event nights.

THE RESULT

The finished installation turned the W Edinburgh rooftop into a city-wide visual landmark. The furthest confirmed sighting came from Thornton in Fife, approximately 24 kilometres away, demonstrating the scale and reach of the installation and giving the hotel launch an impact that extended far beyond St James Quarter.

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Funktioncreep returned to deliver visual production across the festival’s two arenas, combining live visuals, lasers and camera coverage across the weekend.

THE BRIEF

With two arenas and a packed programme of artists, the festival needed a flexible visual setup that could adapt throughout the weekend while maintaining a consistent look and feel across the event. The brief covered live visuals and screen content across both arenas, alongside a high-impact laser installation for the main arena and camera coverage to bring audiences closer to the performances.

WHAT WE DID

Our VJs operated across both arenas using dedicated Resolume media servers, managing artist visuals and festival content throughout the weekend. In the main arena, we installed eight 30W Nova RGB lasers, operated under MA3 control and integrated into the wider show design. Our delivery also included content pre-production, live camera cutting and iMag, bringing the stage action and visual content together into one coordinated system.

THE RESULT

Across two days and two arenas, Funktioncreep delivered a joined-up visual package combining live VJ performance, cameras, content and eight high-powered lasers.

The result was a flexible visual system capable of adapting to a packed programme of artists while giving the festival its own consistent visual identity.

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It was Funktioncreep’s third consecutive year delivering visuals at Download and marked a significant step up for the team, with our first year operating on the festival’s main Apex Stage.

THE BRIEF

Working alongside PRG UK, our role was to manage the visual content running across the Apex Stage throughout the festival.

With a constantly changing line-up, the system needed to accommodate individual artist content alongside festival advertising while giving the team the flexibility to respond quickly to each performance.

WHAT WE DID

Two Funktioncreep VJs operated the Apex Stage throughout the weekend, using a Resolume Arena media server and dedicated hardware controllers to manage live visual playback.

The team handled the mix of artist-supplied visuals and advertising content across the festival, ensuring each performance had the correct visual treatment while keeping the wider stage output running consistently.

THE RESULTS

Our third consecutive year at Download also became our first on the main Apex Stage, putting Funktioncreep at the visual controls for one of the festival’s biggest production environments.

Across the weekend, the team managed the stage’s artist and advertising content, delivering a reliable visual workflow through a constantly changing live programme.

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THE BRIEF

A milestone 32 years in the making deserved a celebration to match. Our brief was to create a joined-up production experience across Stirling Castle, combining the atmosphere of a prestigious corporate celebration with the scale and spectacle of a major outdoor show.

With guests moving between the Drawbridge, Queen Anne Gardens, Great Hall, Upper Square and Chapel Hall, every space needed its own production treatment while feeling part of the same event. The evening would build towards a Beat the Retreat performance and a five-minute pyromusical finale, with lighting, lasers and fireworks coming together for one unforgettable moment.

WHAT WE DID

A red carpet, gold stanchions and red ropes welcomed guests across the Drawbridge, with a pair of Flambeaux framing their arrival. In Queen Anne Gardens, an outdoor PA system provided background music and supported the parachute display, while two 55-inch screens displayed the table plan.

Inside the Great Hall, we used low fog to create a dramatic entrance, with wireless uplighting washing the room in Ithaca Energy’s brand colours. Architectural projection brought imagery of the company’s assets onto the end gable wall, while a four-speaker PA system, microphone package and branded lectern supported the evening’s speeches.

Two 65-inch screens carried video content, with branded table centrepieces, miniature guest favours and chocolates adding the finishing touches. Outside, the castle became part of the production. Changing imagery was projected onto the Great Hall’s exterior gable wall, giving guests another visual moment as they moved between the Beat the Retreat, fireworks display and Chapel Hall.

For the Beat the Retreat performance, we illuminated the buildings surrounding the Upper Square, with a round of fountains adding impact to the finale. And then came the main event… Five minutes of fireworks, pyrotechnics, lasers and lighting, choreographed to one specially chosen soundtrack.

We illuminated the castle and sent laser beams into the night sky, synchronising the lighting and lasers with a bespoke pyromusical designed around the client’s chosen track. The combination of architectural lighting, effects and fireworks turned Stirling Castle itself into the backdrop for the finale.

Back inside Chapel Hall, uplighting, dancefloor lighting and a full PA package supported two live bands as the celebrations continued into the evening.

THE RESULT

A fitting send-off for 32 years of service, with Stirling Castle providing the stage. The production connected each part of the evening, creating a journey through the castle that moved between reflection, recognition, entertainment and celebration. The five-minute pyromusical brought everything together in a finale designed specifically for the occasion, using the castle’s architecture and night sky to give Ithaca Energy’s teams a memorable moment to mark the end of an era.

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For Funktioncreep, it marked a decade of delivering visuals at Creamfields. Working alongside PRG UK and Lar&Co, our team was responsible for live visual production across seven stages, supporting hundreds of performances throughout the weekend.

THE BRIEF

With multiple stages operating simultaneously and a packed artist schedule, the brief was to deliver a coordinated visual production setup capable of handling artist content, live VJ performance, iMag, advertising and event messaging across the site.

The system needed to give each stage the flexibility to respond to individual artist requirements while remaining reliable across four days of continuous festival operation.

WHAT WE DID

We deployed Resolume media servers across seven stages, with dedicated VJs managing live visual output throughout the festival.

Our team handled artist content across the weekend, including downloading, transcoding and playback, alongside sponsor advertising and emergency messaging. ShowKontrol and ProDJLink integration allowed artist visuals to work alongside performance timecode where required.

Alongside the wider site delivery, we created a bespoke VJ set for L.P. Rhythm in the Apex arena and delivered content and VJ support for Gaskin’s performance in the Steelyard.

THE RESULTS

Across four days, Funktioncreep delivered visuals and iMag across seven stages, 195 artist sets and more than 240 hours of live output.

It marked our tenth year working at Creamfields, continuing a relationship that has grown alongside one of the biggest electronic music festivals in the UK.

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Founded by Scottish actor Sam Heughan, My Peak Challenge brings together members from around the world focusing on personal growth, community and giving back. Their 2026 Gala Weekend returned to Glasgow for two days of activity, connection and celebration, culminating in a formal Gala Dinner at Kelvingrove Art Gallery and Museum.

With around 450 guests coming together for the evening, the spectacular Centre Hall became the setting for dinner, speeches, live entertainment and plenty of celebrating.

THE BRIEF

We were brought in to deliver the full technical production for the Gala, creating a setup that could transform the Centre Hall for an evening programme while still allowing the character and architecture of the museum to do plenty of the talking.

The production needed to move comfortably between speeches, presentations and live entertainment, with strong sightlines, full-room audio coverage and lighting that could completely change the atmosphere once evening fell.

WHAT WE DID

Flambeaux, a six-metre red carpet and roped entrance created a sense of occasion on arrival, before guests stepped into a Centre Hall transformed through light.

Inside, wireless lighting fixtures picked out the ground-floor pillars, balconies and entrance, while colour floods washed the roof and walls. Ayrton Diablo moving heads added texture and movement across Kelvingrove’s spectacular ceiling, with Chauvet Ovation profiles providing focused stage lighting.

At the heart of the room, we built a 10m-wide stage with a branded lectern, giving the evening’s speakers, presentations and five-to-six-piece ceilidh band a focal point without overwhelming the scale of the hall.

A D&B audio system provided full-room coverage for both speech and performance, managed through a console and supported by Sennheiser wireless microphones. Four 12ft screens and four Panasonic 12K laser projectors carried content throughout the space, with a live camera feed and vision mixing helping keep every guest connected to what was happening on stage. And behind all of it sat the part guests never see: power distribution, pre-rig, show operation, crew and technical management keeping the whole production moving.

THE RESULTS

One of Glasgow’s most recognisable spaces, ready for one very special night. The finished production gave the Gala the flexibility to move naturally between dinner, speeches and live entertainment, while lighting helped shift the mood of the Centre Hall as the evening unfolded.

Most importantly, our technology never competes with Kelvingrove. It works with it, giving the 400-plus Gala guests a setting that still felt unmistakably like the museum.

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THE BRIEF

As a brand-new two-day event, Hopetoun House Sessions needed a production and operational setup capable of supporting a busy live music programme within the grounds of one of Scotland’s most distinctive heritage venues.

Working alongside Rogue City Productions, our brief was to provide the technical infrastructure and on-site support needed to deliver the event safely and smoothly, while creating the visual impact expected from the performances. With just ten weeks from planning to delivery, the challenge was also to bring multiple suppliers, technical requirements and site operations together within a tight turnaround.

WHAT WE DID

On stage, we turned things up. Four G-Flames, four 20W lasers and haze added another layer to the performances, while Ayrton Perseo and SGM P6 fixtures strengthened the wider stage lighting package. Additional lighting extended into VIP and back-of-house areas, carrying the production treatment beyond the main arena.

Across the wider site, we installed an event-wide internet network, giving bars and traders the connectivity they needed to operate across both days. Behind the scenes, our team worked alongside Rogue City Productions to coordinate, brief and oversee key operational suppliers covering traffic management, medical and welfare provision, security and stewarding.

It brought technical production and practical event delivery together, helping keep the experience running smoothly both on stage and across the wider site.

THE RESULT

The first Hopetoun House Sessions brought a major new music event to the estate, with our teams working across both the visible production and the infrastructure behind it to help keep the weekend moving.

THE VERDICT

“Twentyone Productions supported enormously, with such a short turnaround and only 10 weeks lead time from planning to delivery, nothing was too much to ask and we all pulled it together on site to deliver an absolutely fantastic product that we should all be proud of.”
– Shane Grieve, Creative Director, Rogue City 

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THE BRIEF

With thousands of guests passing through the Cocktail Village across its ten-day run, the production needed to work just as hard as the bartenders. Our brief was to create a complete technical setup for Festival Square, combining punchy live sound and dynamic stage lighting with a warmer ambient treatment across the wider village.

It needed to support a changing programme of live performers, create atmosphere from day into night and, importantly, be robust enough to keep delivering throughout the full festival run.

WHAT WE DID

We gave the Cocktail Village its soundtrack, stage and glow. At the centre of the setup was a 5m x 3m stage, supported by a full truss, lighting and audio package designed around the festival’s live programme. A D&B system delivered clear, powerful sound across the space, with an Allen & Heath SQ5 console, Sennheiser wireless microphones and stage monitoring giving performers everything they needed to step up and play.

Once the sun went down, the lighting took over. Chauvet Rogue Outcast BeamWashes and Ayrton Diablo moving heads brought colour, movement and energy to the stage, while Oxo Pixyline battens framed the performance space.

Beyond the stage, Astera wireless LEDs, COLORdash PARs and festoon lighting extended the atmosphere throughout the Cocktail Village. The stretch tent received its own lighting treatment, while custom gobos carried the event identity out into Festival Square. Behind it all sat the less glamorous but equally important bit: rigging, power, logistics, pre-production and an experienced technical team keeping everything running throughout the event.

THE RESULT

The finished setup gave Edinburgh Cocktail Week a Cocktail Village that could shift naturally from daytime drinks and socialising into a live evening atmosphere, with the technical infrastructure to support performers and programming throughout the full run.

Most importantly, it all felt like one space. Stage, bars, stretch tent and surrounding areas were connected through sound, lighting and production, helping Festival Square come alive as the centre of Edinburgh Cocktail Week.

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The third edition returned to Hopetoun House in October 2025, bringing collectors and representatives from across the whisky industry together for one of the world’s most distinctive charity whisky auctions. The series has now raised £6.6 million in hammer proceeds across its 2021, 2023 and 2025 editions, with 100% of auction hammer proceeds going to charitable causes.

A private celebration at Kinross House called for something rather more memorable than a conventional evening of entertainment. Set against the backdrop of the historic estate, a bespoke mini tattoo brought performance and production together for one showpiece moment created exclusively for the client and their guests.

THE BRIEF

Our role was to deliver the production across Hopetoun House, creating a consistent experience as guests moved through a series of very different historic rooms.

Crucially, this wasn’t about filling the house with production. It was about using lighting, audio, video and carefully considered details to showcase the lots, support the auction and bring the One of One identity into the space without losing the character of Hopetoun itself.

WHAT WE DID

We treated each room individually, while making sure the production felt connected throughout the house. In the Yellow Drawing Room, Red Drawing Room and Dining Room, dedicated pinspots picked out the auction lots, with Astera wireless uplighting bringing warmth and depth to the surrounding spaces. Distributed audio connected the rooms, with induction loops incorporated throughout to make the auction experience more accessible.

The Red Drawing Room became the central audio point, with Sennheiser wireless microphones, an Allen & Heath console and a 65-inch display supporting auction content, while additional wash lighting transformed the Tiger Hall and Ballroom.

Outside, we took the One of One identity onto the house itself. A Panasonic 12K laser projector placed the event logo onto the centre of Hopetoun’s façade, while SGM P6 fixtures illuminated the architecture around it. A pair of Flambeaux completed the arrival, bringing a warmer layer of light and flame to the exterior as guests approached the house.

Behind the scenes, our team handled the pre-production, planning, RAMS, equipment preparation, build, operation and breakdown required to make all of those individual spaces work as one event.

THE RESULTS

Rare whisky deserved a production with a lighter touch. Rather than compete with the extraordinary lots or the historic surroundings, the production helped draw attention exactly where it was needed, illuminating the whiskies, connecting the auction across multiple rooms and carrying the One of One identity through the house and onto its façade.

The result was a technical setup designed around the detail of the event: discreet where it needed to be, impactful where it counted, and completely at home in Hopetoun House.

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