Audio, lighting and video production in Atlanta, built to execute.
Deep South Productions designs, supplies and runs audio, lighting and LED video for Atlanta events from one company. We own the line arrays, the consoles, the fixtures, the LED panels and the trucks. Our crews stay with the show from the site survey to load-out.
Atlanta is a market we work regularly.
Audio, lighting & video production in Atlanta, from one crew
An Atlanta event with three AV vendors has three schedules, three power requests and nobody who owns the gaps between them. The lighting designer wants a truss position the video team already took. The audio engineer finds out about the LED wall at load-in.
We run all three departments out of one shop. The audio, lighting and video leads plan the room together before anything is loaded. One producer answers for the whole technical scope, and you get one bill.
That works for an Atlanta AV production company at both ends of the scale. We build festival main stages and we build hotel ballroom AV. The scale changes; the standard doesn't.
Atlanta event sound and lighting that holds up in the last row
Audio is judged by the person farthest from the stage. We model coverage against the venue geometry before load-in, so we know where the array hangs, where coverage falls off and where delay positions go.
Our flagship PA is a d&b audiotechnik SL-series line array, scaled to the room. Front of house and monitors run on DiGiCo consoles. A smaller room gets a smaller system, not a stadium rig turned down.
A keynote and a band need different things:
Wireless microphones and in-ears share spectrum with comms and video. We plan RF for the site, then scan and coordinate on show day. Outdoors, we design against the permit: noise ordinance, curfew and measured SPL limits. Tell us the number early and we build the system to hold it.
More on concert sound and event audio.
Lighting drawn and run by the same people
You get a plot, a fixture schedule, a power and weight summary and a focus plan before anything leaves the warehouse. For a corporate show, programmers build and approve the looks offline with pre-visualization, so the room isn't a first draft at load-in. For a touring look, the same file reproduces it night after night.
The rig fits the room:
- Clean white key light for podiums and panels.
- Color, texture and pin-spotting for gala rooms.
- Battery-powered wireless uplights where cable runs aren't an option, such as ballrooms with immovable furniture.
- Full concert rigs with moving fixtures, LED wash and effects when the evening turns into a show.
- Followspot with trained, called operators. Skip them at an awards night and everyone notices.
The designer who drew the plot is usually at the console when doors open. In 2022, PLSN named us Regional Lighting Company of the Year at the Parnelli Awards.
See our lighting services.
LED video sized to the seat distance
Most video problems start before the panels arrive. The wrong pixel pitch for the sightline. A screen sized from a rendering. Content in a format the media server won't play.
We carry more than 2,000 LED panels in 3.9mm to 5.9mm pitch, in 500x1000mm and 600x1200mm cabinets. We size pitch to the closest viewer, then check it against the farthest. A 3.9mm wall suits a general session where the front row sits fifteen feet from the screen. A festival IMAG screen with nobody closer than sixty feet doesn't need it.
For Atlanta LED video production, the scope covers:
- Straight walls, curved walls, columns and creative builds where LED is the set.
- Ground-support towers outdoors, flown walls where the venue allows.
- Processing, switching, playback and media servers.
- Camera packages with operators, from one camera for a keynote to multi-camera IMAG.
Rigging is coordinated. Our crews self-perform limited, lower-risk applications. For structural work and arena rigging, we bring in qualified specialists and manage them inside the same plan.
See LED video walls and event video.
Atlanta venues & rooms we cover
We work arenas, ballrooms, convention floors, fields and parking lots that become venues for a weekend. Send the venue and the city. We survey the site before we quote, and power, rigging points, load-in path and ceiling height go into the written scope.
Our Atlanta credits include Mercedes-Benz Stadium, State Farm Arena and the Atlanta Hawks. Elsewhere we've delivered arena and stadium work at AT&T Stadium, TD Garden, Toyota Center and the New Orleans Superdome. The artists, festivals and venues we're able to name are on Clients & Credits.
Typical Atlanta work:
Corporate general sessions, galas and awards nights.
Concerts and multi-stage festivals.
Sports and collegiate events.
Brand activations and public celebrations.
How the gear gets to Atlanta and goes up on time
Our shop, warehouse and fleet are in Sulphur, Louisiana. The gear is ours, tested in our own shop and moved on our own trucks. The people who loaded the truck unload it.
We plan load-in backward from your first session or doors time. A production manager stays on your show from the first walkthrough to load-out.
Things fail. A wireless pack drops. A power supply quits at 4pm. We stage replacements on site and keep spares in the warehouse, with a crew ready to swap them. For sites without house power, generators, distribution and event cooling travel with us. Outdoor stage needs go to our mobile stages, which arrive and deploy show-ready the same day.
Frequently asked questions
Can we hire just audio, or just lighting?
Yes. You can book a single discipline, crew only, or the whole production. Production companies, venues and promoters can also dry-hire gear without our crew. Equipment rental is business-to-business and is usually quoted with services.
Who runs the system on show day?
Our own people. The audio engineers who design the system run it, and the lighting designer is usually at the console. We don't hand your show to a freelancer we've never met.
What does an Atlanta production cost?
It depends on scope, scale, duration and travel. A 200-person awards dinner and a three-day outdoor festival aren't priced alike. Give us the date, venue, headcount and what you need, and you'll get a written scope and a number rather than a guess.
What if gear fails mid-show?
We don't promise nothing will fail. We plan spares into every department and stage replacements for the items most likely to go, like wireless microphone packs. On show day we scan RF and test the chain before doors.
What should I send to get a quote?
The date, load-in and load-out days if you know them, the venue, expected attendance, and a run of show, even in draft. A date and a city is enough to start. We reply within one business day, usually sooner. If your event is inside two weeks, call.
Send us the date,
the venue & the city
Tell us what you need covered in Atlanta, how many people you expect and what's already locked. You'll get a real producer, not a form response.
1441 Swisco Road, Sulphur, LA 70665