EVERY DISCIPLINE ONE TEAM
Fatfish is a full-service event production company. We plan, design, build, and run events top to bottom, from the first production call, to the last truck out, and the media captured along the way.
Founded in 2015 with deep AV roots, we've built a team that covers every production discipline in-house: producers who own each show from concept through execution, production managers who run the logistics and crew, department leads in audio, video, and lighting, 3D and scenic design teams who build environments from the ground up, and content teams who capture every moment for your brand to make sure the story lands.
We work across brand activations, corporate events, concerts, tradeshows, premieres, and sports. A decade of production across those categories teaches you what to expect: the window will be tight, the equipment can't fail, and the show has to run seamlessly no matter what. We've been there and have the knowhow to make your event a success without any of the stress landing on you.
By the numbers:
2025
Two purpose-built mobile production units — scalable to your show.
- Onsite editing suite
- Fiber with server access
- Isolated audio booths & teleprompter
- Client & show-caller working area
- Handles multiple simultaneous shows
- Climate controlled even in extreme temperatures
- Towable by pickup — rapid deployment
- 30A power — virtually any venue
- Fiber connected
- Isolated audio booths & teleprompter
- Climate controlled
- Small footprint
A snapshot of the gear we own and stand behind.
CASE STUDIES
Our work from across event types, the challenges we've faced, and a project in our books to highlight the call we made in the moment.
The brand moment is outdoors, on camera, and unrepeatable.
- Weather owns your build. Wind load on truss, fabric, and tall scenic is the failure no render shows you.
- Power is the whole show. One activation, one generator, no redundancy — and the hero moment goes dark.
- Flow and the hero shot. If guests can't move and the camera can't frame it, the activation didn't happen.
Utah Jazz 2024 home opener. Six towering fabric columns in the Delta Center courtyard, plus a mountain-inspired DJ stage.
A gusty fall afternoon. Wind load on tall, sheer-fabric scenic is the failure no render shows you.
We engineered the fabric to read as designed and hold in the wind, and tuned a courtyard PA that pulled fans in from blocks away. It stood, all day.
The advance changes, and the room still has to sound right.
- The advance moves late. Backline, input list, and stage plot shift 48 hours out — and nobody tells AV.
- Coverage vs. the ordinance. Even line-array energy up front, and nothing in the neighbors' windows.
- Changeover is the silent killer. Dead air between acts is where festivals lose the crowd.
The Piano Guys at Red Rocks. A cello, a grand piano, and a 9,000-seat amphitheater cut from sandstone.
Open sandstone: no roof, shifting weather, and acoustics you do not control.
Our COO designed lighting and our senior producer ran audio here for eight years — intimate on stage, full in the back row, beautiful on camera.
Multiple venues, one clock, and a broadcast that can't drop.
- The game owns the calendar. Your load-in window is whatever the arena schedule leaves you — often overnight.
- Multi-venue, same night. Activations across a downtown have to look like one show on one timeline.
- Broadcast is not an afterthought. If the livestream stutters, the sponsors saw it.
NBA All-Star Weekend, Salt Lake City. A multi-million-dollar production across several downtown venues, alongside talent like Dan Reynolds and Dwyane Wade.
Multiple venues, one weekend, one clock — and a broadcast that could not drop.
Showcases, philanthropy, and fan activations across downtown, all synchronized on a single timeline under one accountable team.
The talent, the reveal, and the look — with no second take.
- Talent timing is the real run-of-show. Green rooms, walk-ups, and the reveal beat have to land to the second.
- One playback machine is one failure point. The reveal cannot hinge on a single laptop.
- Powerful, but out of sight. The rig serves the moment — the product is the star, not the PA.
Lamborghini Revuelto reveal. An empty airplane hangar turned into a world built for the car, for a high-profile audience.
A raw hangar means raw acoustics and zero infrastructure — powerful sound risked swallowing the room and stepping on the moment.
We built a world, not a stage — elegant lighting and a discreet, powerful PA tuned so the Revuelto, not the rig, owned the room.
A booth that has to load in overnight and draw a crowd by 9am.
- The floor schedule is not yours. Union labor, marshaling yards, and tight move-in windows decide what's possible — not the render.
- You're competing for attention. A hundred booths in one hall — the LED, the lighting, and the sightline have to pull people in from the aisle.
- It has to travel and reset. The same exhibit has to look show-fresh in the next city, crate after crate.
KubeCon — Octopus Deploy. A multi-zone booth with a feature display, product, and a presentation theater on a major convention floor.
Artwork to be printed on the booth design was submitted but wasn't up to our standards in resolution. In other words — pixelated graphics that stuck out like a sore thumb.
We made the call to preemptively enhance graphics and pass them off to our client for their final approval.
The keynote can't miss, and the message is the whole point.
- Show-calling is the difference. Keynotes, awards, and reveals live or die on cue-to-cue precision — one missed cue is the one everyone remembers.
- Content arrives late. Decks, videos, and walk-in loops change the night before — the system has to absorb it without drama.
- The room has to read clean. Big LED, clear audio, and confident lighting so leadership lands the message, not the production.
Magellan's Momentum conference. Keynotes and general sessions with staging, LED, and show-calling where the message couldn't miss.
Final content kept moving right up to show week — and the run-of-show had to stay airtight through every change.
One producer owned the run-of-show and a dedicated show-caller drove cues, so every keynote, video, and transition hit on time and on message.
SELECTED WORKS
A wider look across every event type — one featured production per category, with more of the rooms we've owned alongside it.
Full builds at Sundance for Macro and World of Hyatt — custom scenic that hosted Pedro Pascal, Issa Rae, and Too Short in performances and MasterClasses that brought the film festival to life.
A full main-stage production for one of Utah's largest annual festivals — sound, lighting, and staging built to carry the energy of thousands of attendees from the first act to the last, each promoting equality in Utah.
A multi-million-dollar production across several downtown venues — showcases, philanthropy, and fan activations synchronized on a single timeline under one accountable team.
An empty airplane hangar turned into a world built for the car — elegant lighting and a discreet, powerful PA tuned so the Revuelto, not the rig, owned the room.
A custom exhibit for Geneo's Glo2Facial launch on the trade show floor — a live treatment demo environment designed to pull beauty professionals off the aisle and into a hands-on brand experience.
An airplane hangar transformed into a world-class celebration — Justin Bieber, top chefs and designers from around the world, and thousands of lighting fixtures turning raw space into one of Utah's most notable events.
OUR WORKFLOW
End to end, under one accountable team — what it's actually like to hand us your show.
Leadership &
deep expertise
"Stress-free" means nothing until you know exactly who owns your outcome. For you, that is one person — with a deep bench behind him.
Pete is a certified Project Manager with extensive experience in live music, corporate events and trade shows. Pete is your calm-in-a-crisis, common sense leader who will be by your side every step of the way.
10+ years in AV, including 8 years as lighting designer for The Piano Guys. Sets the bar for visually engaging environments.
Built Fatfish into a standout in experience design for clients like Adidas, Meta, and Amazon. Serves on Salt Lake's Culture Core board.
Six-plus years making scenic dreams real across every medium — experiences built to stick with you for life.
Manages events worldwide, known for meticulous planning and thriving under pressure when show day turns.
With Fatfish since 2014; production manager and audio engineer for The Piano Guys. Blends creativity and precision for standout events.
Immersive-tech specialist; former Head Carpenter for the Lindsey Stirling Tour. Specializes in turning your ideas into reality.
LET'S TALK
Send us your next big idea.
We'll outline how we'd approach it and refine it to match your vision.
YOUR EXPERIENCE.