You only get one first reveal. Make everything before it earn the moment.
The room, the story, the production, the people and the timing all have one job: help the audience understand why this matters. We hold everything behind that moment.
Not sure what this launch has to do? See how →
What has to happen because of this launch?
Trusted with the briefs that matter.
A launch has no second take. These are rooms where the reveal had to work the first time, in front of the people who were invited to see it.
Pick a name. We’ll show you what happened.
A launch event produced by Red Giant in Nairobi.
This is Red Giant.
Not moodboards. Not stock photos. The actual work.
For a few seconds, everyone is looking at the same thing.
Nobody is on their phone. Nobody is being sold to. The room has stopped, and the product is the only thing in it. Everything before that exists to make those seconds mean something — and everything after exists to make them travel.
The reveal is not the launch. It is the point the launch has been earning.
What needs this launch to do?
I already know the format+
One reveal. A lot behind it.
Arrival, sequence and pacing build the pressure the reveal needs. Sightlines decide whether the moment happens for the whole room or just the front three rows, and camera positions decide whether it happens for anyone who was not invited. Sometimes the most important thing is that nobody sees it early — who is holding the product before doors is a real question, not a detail.
A product that is only ever on a stage stays an announcement. Demonstration, trial and a clear line of sight turn it into something people can describe to someone else the next day. Visible, reachable, protected — in that order. And a launch where the event is more memorable than the product has failed at the only thing it was for.
Applause is not always the finish line. The room holds a few hundred people; the content reaches everyone else. What goes out afterwards, who follows up which conversation, and whether the launch becomes a roadshow, a pop-up or a retail programme are planned into the run of the night — not gathered up after it.
Everything behind the reveal+
Product handling and confidentiality, rehearsal and show calling, production and AV, camera lines, venue and fabrication, guests and hospitality, media and creators, logistics, contingency, product arrival and specialist equipment — the full launch system, open when you want it.
The reveal is not the launch.
If what you actually need is a world people can walk into rather than a show they attend, that is a different discipline — experiential installations & pop-ups →
The room starts forming an opinion before the product appears.
Invitation, arrival, environment and hospitality have already told the audience what kind of brand this is.
Anticipation is part of the launch.
The curtain moving is only the middle.
What needs to happen because this launch happened?
Then the room is built around clarity, not volume.
What kind of launch is this?
Let them meet it. Not just hear about it.
Consumer audiences decide with their hands and their attention, not with a specification sheet.
The product should be the most interesting thing in the room.
Don’t ask how to reveal it. Ask what is true about it that the reveal could make people feel.
Your approved product truth decides the creative direction. Not the equipment list.
Pick the one that matters most — it changes the room more than the budget does.
One launch. One dominant idea.
Seventeen messages of equal importance is the same as none.
Before anyone designs a stage, the practical questions decide the room:
Where it’s in scope, we can coordinate delivery and secure receipt, storage and inventory, unboxing, assembly and testing, charging and cleaning, secure holding, stage movement, reset between demonstrations and collection afterwards.
Nobody should be asking “who has the product?” ten minutes before doors.
Where secrecy matters, planning can include restricted areas, covered movement, secure storage, limited crew access, coordination around your NDAs, crew briefings, camera restrictions and embargo timing.
We work within your security and legal framework — we don’t replace it.
A reveal that photographs badly is a reveal that half the audience never sees.
Where the schedule allows: technical rehearsal, product movement rehearsal, lighting, video, audio, music, speech timing, camera, MC, talent, the demonstration itself, the cue sequence and the backup.
One moment. A lot of people hitting “now.”
Product arrives late. The CEO changes the speech. The video changes. The prototype won’t power on. The internet fails. Media arrive early. Talent is delayed. Guest numbers jump. Weather turns. The programme runs late.
The plan changes. The moment still has to land.
The job isn’t pretending nothing changes. It’s knowing what moves when it does — duplicate media, an offline demo route, alternative reveal cues, holding content, power and connectivity planning, and a timing structure that can absorb it.
Not everyone in the room came for the same thing.
Give the story somewhere to happen.
Build the room for the people inside it. Build the content for everyone outside it.
One reveal. A lot behind it.
The idea has to survive the room it lands in.
We start from the product truth and the launch objective, then decide what the event actually has to do before anyone talks about staging.
We do not rehearse hope.
The reveal can feel spontaneous. The planning cannot be.
One person on one sequence: the show caller, with stage management, AV, lighting, video, product, talent, MC, camera and your team all working from the same document. So the cue that matters most is a decision, not a guess.
Applause is not always the finish line.
Excitement should have somewhere to go. What the room does next depends entirely on what the launch was for.
Deciding this before the day changes where cameras stand, how the demo is lit and how long the product stays accessible.
One reveal can become a campaign.
Depending on the objective, the same idea can extend into roadshow activity, a pop-up or retail activation, sampling, dealer and partner tours, regional rollout, expo presence, internal training and ongoing content. We’d rather plan that from the start than retrofit it in week two.
Against the objective you set, using what is genuinely tracked: attendance, media attendance, product trials, samples served, demo bookings, registrations or leads where capture is in scope, content produced and survey feedback. We won’t invent a return-on-investment figure, and we’d be sceptical of anyone who does.
For procurement: deliverables, production and fabrication scope, equipment, staffing, supplier coordination, timeline, approval gates, commercial breakdown, change control and documentation for reconciliation where applicable.
What will this launch cost?
Four questions and you see a very tentative planning range, built from published Kenyan venue, AV, fabrication and delegate rates. Every line shows its basis. Anything without a defensible source stays to be confirmed and is excluded from the total.
Tell us the budget early. It lets us protect the parts that make the launch work, and stop spending where nobody will know the difference.
- The reveal mechanism itself
- Anything the product touches
- The hero brand moment
- What the camera frames
- Structural bases and working platforms
- Standard rigging and support elements
- Back-of-house and unseen build
Where appropriate, verified Red Giant-owned structures and elements can be reused — which moves budget to the layer the audience actually sees.
Tell us the number and we will show you what we would protect, what we could simplify, and what still needs a conversation.
Not a formal quotation. Ask for a formal quote →
The part we could say ourselves, but it’s better coming from clients.
“They blend creativity and precision flawlessly. Our event was an unforgettable masterpiece, thanks to their innovative touch.”
Philip Barasa
“Their attention to detail and creativity in every aspect, from décor to audiovisuals, was flawless. What sets them apart is their ability to truly understand your vision.”
Anne Kibunya
“From start to finish, they flawlessly manage every detail. Highly recommend them for any event management needs.”
Collins Nyachoti
These are public Google reviews of Red Giant as a company. They are reproduced word for word and are not attributed to any specific BTL campaign on this page.
Keep the idea. Add the Kenya team.
Protected throughout: the campaign idea, visual standards, approved product claims, identity and tone. Adapted locally: venue realities, guest behaviour, timing, food, language, talent, transport, climate and what Kenyan production can genuinely deliver to the date. Where local reality forces a change to something you consider fixed, we raise it rather than quietly making it.
One named Red Giant lead, timezone-aware updates, and a documented approval route for creative, production and commercials. Venue inspections and remote walk-throughs where your team cannot travel. Escalation reaches a person rather than an inbox.
Materials can be received, checked and stored against an inventory once they have landed and cleared. Import documentation, customs clearance and any category registration remain with you or your local entity.
If you are an agency running this for a client, the client relationship stays yours. Local production, staffing and execution run underneath it.
Before the brief.
Cost is driven by guest numbers, venue status, launch format, production level, the reveal mechanic and media requirements. Red Giant has not published standard launch rates, so the estimator above collects your scope and returns a formal figure against it rather than showing a guessed number.
Idea, venue, build, production, the product on the night, guests, show calling, content and closeout. One accountable team from brief to the morning after.
The date is usually fixed by the product, not by us. What changes with time is how much of the reveal can be designed and rehearsed rather than assembled. Bring us in as soon as the date exists.
Yes — the mechanic, the fabrication, the staging, the sightlines and the rehearsal. The reveal should not happen for the first time in front of the audience, and there should be a named person who calls it and a decision if it does not go to plan.
Yes. Press operations, creator programmes, photography and video are planned into the run of the night so the cameras can actually see the moment, rather than being gathered up afterwards.
Yes. You keep the brand, the story and the approvals; we solve venue, production, permissions, staffing and execution on the ground, through one named local lead.
We already have the launch so far.
Who should we send the proper quote to?
Tell us about it.
No finished plan required.
No finished plan required
Got it. Your scope is with us — a Red Giant lead will come back to you on it.
Send the messy version. hey@redgiant.co.ke →
Whatever exists already — a deck, a floor plan, a spec, a date, or half the idea. Send what you have.
Build the scope first.
The estimator carries straight into this form. Start there →
- 1We receive your scope exactly as you built it.
- 2Red Giant reviews the commercial and operational requirements.
- 3We come back to confirm anything missing.
- 4You receive a formal quotation against that scope.
Ready to make the moment land?
Send what you have. We will come back with a shape for the launch and a real number.