Crew, logistics and licensing
Everything in module 01, plus the people, the paperwork and the budget.
Full production is the module most promoters end up on. You have the artists and the audience. We take the whole physical event: the build, the crew, the permits, the artist logistics, the site and the money, and hand back a finished show with a reconciled invoice. It is how we work across Thailand, Bali and, through the London office, Europe, and it is the difference between hiring kit and hiring a production company.
What full production covers
The show, first: everything in stage, sound, lighting and power, built and run by our crew. Then the people around it. A production manager who is your one contact and owns the event on the ground from the first survey to the final invoice. Local crew for the build and the strike, stage managers for the changeovers, runners for the things that go wrong at 4am. Artist logistics: flights booked or checked, hotels, drivers, riders sourced locally, hospitality on site and someone whose job is to get the headliner from the airport to the stage on time.
Then the paperwork. Thailand's permit process is not hard if you know it and a disaster if you do not. We notify the district, file with the police, book the structure inspection, agree the noise limit with the neighbours and get the alcohol licence position clear before you announce. For foreign artists we handle the performance paperwork and brief their team on the visa. In Bali the same job runs through the banjar and our local partner.
Then the site, if there is one. On a venue show the site is the venue. On bare land it is fencing, gates, toilets, water, path lighting, medical position, car park and crew catering, and it is most of the work. See festival production for what that looks like.
The budget
This is the part that makes full production different from hiring three suppliers yourself. You get one budget, line by line, before you sign. We contract and pay the suppliers, we hold the receipts, we report weekly in the run up and daily on site, and the final invoice reconciles to the number you agreed with every change dated. Nobody is surprised at the end. If you want a partner on the risk of the event itself, that is a separate conversation; the standard job is a fixed price for a finished show.
Where it applies
Everywhere we work. Resort and beach shows in Phuket, warehouses and rooftops in Bangkok, beach clubs and cliffs in Bali, and bare land anywhere. If what you want is the whole festival designed, built and filmed from an empty site, that is end to end, the module above this one.
See how we run it: a beach stage build on the Andaman coast, full production for a promoter who arrives with a date, a beach and a lineup.
Brief to strike
How it runs
Brief
Date, site, capacity, lineup, what you already have. A call, then a site visit or a survey from your footage.
Budget
Line by line, module marked, crew list, build schedule with weather days. You sign this, not a brochure.
Build
We contract the suppliers, file the permits, book the artists’ travel, and put the site and the stage up.
Show
Our production manager runs the site. You run the show. Daily numbers, no surprises.
Strike
Down, cleared, reinstated. Final invoice reconciled to the budget, content handed over if we shot it.
The three modules
Kit, then crew, then the whole thing.
Questions promoters ask
Full production, answered
What does full production add on top of kit and stage?
The people and the paperwork. A production manager who owns the whole event on site, local crew, stage managers and runners, artist travel, hotels, drivers and hospitality, the permits and licences, the site infrastructure on a bare site, and a budget that we manage against and report on. Kit and stage builds the show; full production runs it.
What licences does an event in Thailand need?
An outdoor event needs the sub district office notified, a police permit covering the crowd and the sound, a temporary structure inspection for anything with a roof, and an agreed noise limit at the boundary. Alcohol needs a licensed Thai entity or a venue whose licence covers the date. Foreign artists need the right visa and a work permit exemption letter for the performance. We file all of it well ahead of the date.
Do you handle artist visas and work permits?
We handle the performance paperwork, which is the letter that lets a foreign artist perform legally for a fee, and we brief the artist's team on which visa to enter on. We do not act as an immigration agent, and for a tour with many artists we bring in a specialist and put it in the budget.
How is the budget managed?
You get a line by line budget before you sign. We pay the suppliers, hold the receipts, and report against the budget weekly in the run up and daily on site. The final invoice reconciles to the budget with every change noted and dated. If a line moves more than 5 percent you hear about it before it happens, not after.
Who is on the crew?
A production manager from our core team, a site manager on bare land, stage managers per stage, a sound and lighting crew, local hands for build and strike, artist liaison, runners and a security coordinator who briefs the venue or hired team. Most of the Phuket crew have worked together for years. In Bangkok and Bali the core travels and the hands are local.
Can you do full production for a corporate event or a brand?
Yes and it is the same machine with different content. Launches, conferences with a real sound system, sponsor stages, private events. The permits are simpler, the client reporting is heavier, and the show still has to start on time.
Got the lineup and nothing else?
Hand us the rest. Send the date, the site and the artists and we come back with a budget and a crew list.
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