Project Type
Corporate Event.
The general session of Accelerate '26, flagship annual conference, staged at Resorts World Las Vegas from June 13-18, 2026: a keyEverpure'snote and executive presentation program for 1,200 attendees across three show days.
Project Name
Everpure - Accelerate 2026
Client: Everpure.
Stagevision (Mississauga, Ontario) was production partner, responsible for design integration, sourcing, technical direction and delivery.
Design Criteria
The brief was a general session that read as a built environment, not a screen behind a podium. Scenic, LED and lighting had to work as one design, with a custom main stage and custom LED light boxes tied into the canvas so the room itself carried the Accelerate look.
Around that, the goals were practical. Every one of the 1,200 seats needed a clear picture and consistent sound, front to back. The show had to handle a full executive roster with quick changeovers, put live camera into the same composition as playback, and serve audiences beyond the room through simultaneous translation, a redundant stream and ISO recording.
All of it had to be delivered inside an 18-foot ceiling, which set the terms for every design decision that followed.
Project Discription
Stagevision designed, specified, sourced, built and ran the Accelerate '26 general session, with Matt Manerus as Production Manager and Technical Director and Las Vegas local crews working under Stagevision department leads: one crew on the floor and one point of accountability. Bryce Engelman and Creative Director Danusia Rogacki carried the creative scenic design, tying a custom main stage and custom LED light boxes into the LED so the room read as a built environment and not a screen behind a podium.
The centerpiece was a 2,438 square foot LED canvas of ROE Graphite 2.6mm, built wide rather than tall, with a run of LED fingers fanning off its top edge and out over the stage so the image ran above the talent instead of behind them. Content was built natively to that canvas under content design director Kyle Smith, and on show live IMAG was cut and composited into the wall alongside playback.
Audio came from a distributed Meyer Sound point-source system, lighting from Dave Eveson's design at Liteworks, and the whole package was assembled from our Mississauga shop, Las Vegas and supply partners. Empty room to first rehearsal took under seventy-two hours; strike cleared the room in a day.
Challenges and Solutions
The room. At 18 feet to the ceiling, once deck height and lighting positions came out, the usual toolkit for a 1,200-seat keynote stopped working. Projection could not reach the image size the room needed, and a line array had nowhere to hang: high enough to clear sightlines it threw over the audience, low enough to cover the room it blocked the stage.
Image. We replaced projection with LED, which needs no throw, nothing hidden in the ceiling, and holds up under stage light. With no height available the wall went wide, keeping its top edge under the sightline while still reading from the back of the room.
Audio. We covered the room with a distributed Meyer Sound point-source system instead of a flown array: ten pairs of ULTRA-X40 on U-brackets with UPJ, UPM-1P and compact fills and 650-P subs. It meant more positions, more cable and more tuning time, but it was the only way to hold level front to back without a box in a sightline.
Lighting. With no trim there was nowhere to hide a fixture. Throws were short, positions ended up in sightlines and in camera, and everything competed with a large emissive wall for control of the room. Dave Eveson's design keyed presenters close in with soft sources that stayed clean on camera without spilling onto the canvas, found depth where there was no height to light into, and made the visible positions part of the look. Lighting shared the limited overhead with the LED fingers, and the rigging carried all of it off one structure.
Innovations. The LED fingers brought the canvas out over the stage, so there was no clean line where the image stopped and the room started. Content was built to the canvas's native format instead of stretched out of 16:9, with the light boxes and fingers part of the same picture, and it was designed alongside the engineering rather than after it. Processing was built with more redundancy than the canvas strictly needed: a Pixelhue Q8 with a U5 alongside and a disguise server, over fibre distribution.
Above and beyond. The package crossed a border: two shipments from our Mississauga shop travelled with the core, and the rest came from Las Vegas and supply partners, specified ahead of time to integrate with what we shipped. A package like that cannot be fully pre-built, so much of it was proven for the first time in the room with the clock running. Build started June 12 with eighteen local lighting techs and LED crews working into the night, peaking at around sixty on the floor, and the room went from empty to first rehearsal in under seventy-two hours.
Photo credit: Bryce Engelman
Equipment
Video / LED. ROE Graphite 2.6mm, mostly 1000mm x 500mm tile (435 panels) with 108 panels of 500mm x 500mm to fill, for 2,438 square feet on Brompton Technology processing. LED was the only way to get image size under an 18-foot ceiling. PixelHue Q8 and U5 presentation switchers and a disguise media server carried signal with deliberate redundancy, distributed over 12G AJA fiber, with Kiloview N40 4KP60 NDI encoders and 55" and 43" downstage monitors.
Audio. Ten pairs of Meyer Sound ULTRA-X40 with UPJ and UPM-1P fills, 650-P subwoofers and Galileo 616 management. Chosen because a flown array was not possible; a distributed point-source system could hold level front to back with nothing in a sightline. Mix was on a Yamaha CL5 with twenty channels of Shure Axient Digital and sixteen DPA d:fine 4288 headsets, a count driven by changeover speed with a full executive roster.
Lighting. Fixture choice came out of the trim. Twenty-one KL Panel XL, with thirty-four EclipseFS Lekos for front light. Fifty-one Martin MAC One and sixty ZW19 RGBW washes gave movement in bodies small enough to work at that height, seventeen Martin Quantum Profiles handled the longer throws, and twenty-two Color Force II and seven Pixel Line IP covered scenic and accent wash. Two grandMA3 consoles ran the rig, with eight Pathport Octo nodes distributing data around the room.
Camera / record / stream. Three Sony HSC100R studio channels, two on 50:1 lenses to reach the stage from the back of a wide room, plus three BRC-X1000 PTZs. ISO recording went to redundant AJA Ki Pro Go 2 units and a Sumo 19E, with two vMix ThinkStation P620 systems and a Roland switcher supporting the stream.
Comms / prompt. Clear-Com Arcadia with HelixNet and FreeSpeak II/ICON wireless, an 85" teleprompter package and a simultaneous translation chain.
Team
Set Design: Bryce Engelman, Account Executive, Stagevision
Set Design: Danusia Rogacki, Creative Director, Stagevision
Lighting Design: Dave Eveson, Liteworks Productions
Content Design Director: Kyle Smith
Production Manager and Technical Director: Matt Manerus, Stagevision