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THE BRIEFING XL Evenets supplies Queen’s Jubilee concert p10 THE GUIDE The latest products to hit the market p38 THE HITLIST The best of this month’s videos and apps p46

EVANESCENCE Traffik Events sits down with S&S to chat about Evanescence’s first UAE visit

EUROS AT BARASTI JR Scenic discusses its recreation of the Barasti Football stadium

MATERIALS, GIRL Madonna plays the du Arena for her first UAE performance

Vol: 6 Issue: 7 July 2012

An ITP Business Publication


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CONTENTS 28

July 2012 Volume 6, Issue 7 02 Editor’s Comment 04 News round-up Wiz and Tinie beat the temp with Delta Sound.

10 COVER STORY: Materials, girl Following Madonna’s boundary-pushing performance, FLASH’s operations director, Lee Charteris, discusses achieving naming rights, renovations and refurbishments of the du arena and Madonna’s 47 equipment trucks that contained everything up to the “kitchen sink.�

17 Evanescence brings Dubai to life Prior to Evanescence arriving for their UAE performance, events coordinator of Traffik Events, Mehdi Gorjestani, explains the issues surrounding a performance with an opening act and the ever changing views of importing equipment.

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26 Barasti Bar Football Stadium Sound & Stage speaks with JR Scenic’s managing director, John Raby, about the recreation of the Barasti Football Stadium for the 2012 European Football Championship.

30 Buyer’s Guide The latest and greatest in projectors.

34 The Guide 38 Web log

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39 The hitlist 40 Backstage

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EDITOR’S COMMENT

Heating things up.

The big name on every concert goer’s lips this month was Madonna. Yet, despite her risqué moves and body-shaking beats, we still couldn’t overlook the two extra hours spent in the oppressive summer heat waiting for her to finally grace us with her presence during her second show. But were we simply aggravated at her tardiness or perhaps by the fact that we stood there, two hours longer than we had expected, sweating and sticky? And to further this, in a place where air-conditioning is as common place as Madonna’s hip-thrusting, why do we agree to stand outdoors in the midst of some of the hottest days in the year? Does Madonna have that much of an ‘awe-inspiring’ hold on us or have we simply come to accept that, in order to see big names in music, a certain amount of ‘suffering’ must be endured. So this brings me to the ever-pressing

question of, has the UAE become popular enough within the international music tour circuit to merit building an indoor concert arena that would be large enough to hold the likes of Madonna? In my four short weeks here in Dubai, the one thing I’ve quickly come to realise is its need for all things bigger and better. The world’s largest mall, sits next to the world’s tallest building, and is ten minutes down the road from the world’s largest indoor ski area. As an American, one would assume this would be common place. Perhaps the last four years spent in the UK has changed my outlook on all things ‘super-sized’, but that’s neither here nor there. So it’s no surprise that I was utterly befuddled to hear that Dubai, and the UAE in general, was still without a arena large enough to hold a Madonnasized fan base. When chatting with Lee Charteris, operations director of FLASH, he agreed that an indoor arena was certainly on the cards for the UAE. And while FLASH continues to work on bridging the gap between one event season to the next, an indoor arena seems only appropriate to help with this endeavour. What will happen within the next few months and years is still unforeseen. And for now, if we choose to groove and shake to the beats of the big named artists during the summer months, we’ll do so knowing full well things might heat up a bit. It must be mentioned, however, that operations production manager, Haidar Shukri, and his crew did an outstanding job, working almost a 2.5 day shift, during the two performances. Thanks FLASH!

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ITP Business Publishing CEO Walid Akawi Managing Director Neil Davies Managing Director ITP Business Karam Awad Deputy Managing Director Matthew Southwell Editorial Director David Ingham Editorial Senior Group Editor Robeel Haq Editor Ashley Lane Tel: +971 4 444 3643 email:ashley.lane@itp.com Advertising Sales Director George Hojeige Tel: +971 4 444 3203 email: george.hojeige@itp.com Japan Representative Mikio Tsuchiya Tel: + 81 354 568230 email: ua9m-tcy@asahi-net.or.jp Studio Group Art Editor Daniel Prescott Photography Chief Photographer: Jovana Obradovic Senior Photographers: Isidora Bojovic, Efraim Evidor Staff Photographers: Lester Ali, George Dipin, Juliet Dunne, Murrindie Frew, Lyubov Galushko, Verko Ignjatovic, Shruti Jagdesh, Stanislav Kuzmin, Mosh Lafuente, Ruel Pableo, Rajesh Raghav Production & Distribution Group Production & Distribution Director Kyle Smith Deputy Production Manager Matthew Grant Production Coordinator Nelly Pereira Managing Picture Editor Patrick Littlejohn Image Retoucher Emmalyn Robles Distribution Executive Nada Al Alami Circulation Head of Circulation and Database Gaurav Gulati Marketing Head of Marketing Daniel Fewtrell Marketing Manager Michele Meyrick ITP Digital Director Peter Conmy ITP Group Chairman Andrew Neil Managing Director Robert Serafin Finance Director Toby Jay Spencer-Davies Board of Directors K.M. Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafin Circulation Customer Service subscriptions@itp.com

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THE BRIEFING

Wiz and Tinie beat the temp Despite the gruelling temperatures, Wiz Khalifa and Tinie Tempah both offered up a great evening with the help of Luxury Concerts and Delta Sound, on 4 of June 2012. Operating the monitors and monitoring the FOH control, Delta Sound ensured that the equipment ran smoothly throughout the entire concert. The main PA system was comprised of an L`Acoustics system based on 10 V-Dosc per side with 3 DV-Dosc as underfills. For outfills, an additional 6 KUDOs on each side were used, driven by LA8 amplifiers. Twenty-four SB218s were used using `Sub Arc array` processing. The onstage audio consisted of 10 AA FR12 wedges set along the front of the stage and another 4 were added as rear wedges. ARCs and SB218s speakers made

up the side fills. FOH control was made up of a DiGiCo SD8, AVID profile and some outboard processing units. The Yamaha PM5D was used as monitor console, as both TinieTempah and Wiz Khalifa’s engineers

had specified the desk. During the evening, there were three different DJ setups, one one event opener DJ David Vendeta, followed by Tinie Tempah and main star, Whiz Khalifa.

Riedel MediorNet and Artist rock 2012 Eurovision

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video signals were distributed within the arena, amongst them the broadcast feed and the signals for the on-site video walls and monitors. Riedel was also responsible for five wireless video camera systems consisting of Grass Valley LDK 8000 equipment and wireless transceivers. Furthermore, Riedel supplied the communications infrastructure for the ESC, using a furnished system combining Artist Digital Matrix Intercom with digital trunked radios (TETRA) and professional analog

radios. A total of 13 Artist 128 and Artist 64 mainframes were used as well as 82 Artist control panels--this included panels from the Artist 1100, 1000 and 2000 series. Nearly 900 Artist ports were available via the intercom matrix and the free scalability allowed systems to be built with up to 1,024 x 1,024 ports. Finally, to distribute the live audio signals at the event, the rental provider, Cape Cross, used a comprehensive Riedel RockNet digital audio network installation.


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THE BRIEFING

Almoe Digital presents audio visual experience Almoe Digital Solutions unveiled exciting new products from key brands such as  Epson, Samsung, Bose and Digital Projection at the Shangri La Dubai on the 20th of June 2012. Products featured in this exclusive showcase included Epson’s first 10,000 and 8, 000 lumens projectors designed for large venues, Epson’s topof-the-range Full HD Home Cinema projector, Samsung’s new advanced Video Walls and Touch Surface and the BOSE L1 System Model II. The general manager of Al-

moe Digital Solutions, Indranil Bandyopadhyay, said, “The new range of products, which are being launched today are part of our commitment and continued efforts to provide our customers with the most advanced products that the industry has to offer. The UAE and regional consumers are aware of the advances in technology, due to the digital media revolution, and are demanding the latest products. We feel we are fully equipped and capable of catering to this demand-supply shift.”

Almoe presents newest technology in the field

The Fridge experiences a thaw The Fridge, Dubai-based artist and entertainment management agency, has witnessed double-digits in bookings from the Arabic wedding sector in the last twelve months. The growing popularity of significantly-sized Arab wedding events, hosted by both Emirati and expatriate families from the Levant and other markets, has contributed to a sustainable, UAE-based music scene, with The Fridge developing innovative approaches to showcase traditional musical interests in a contemporary way. The rise in weddings and private parties in the UAE and throughout the Gulf can be partly attributed to the world-class level of event management, resources and locally-grown musical talent in the UAE, creating unique and culturally-relevant wedding events. “Regardless of changes in the economic climate, the demand for and scale of Arabic weddings and celebratory events such as anniversaries in the UAE has not just remained consistent, but has seen strong growth. To meet this market need, The Fridge has sought out and retained some of the most talented musi-

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Khalil Ghadri Acoustic Band is just one of the many artists offered by The Fridge for wedding entertainment

cians and singers from the region and beyond, to create distinct and memorable entertainment experiences which reflect the cultural background and tastes of each host,” said Shelley Frost, founder and director of The Fridge.

“For Arab weddings, our role is to understand the families and guests behind each event so that the music and entertainment will reflect their values while becoming a talking point for years to come,” Frost added.


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Projectiondesign and BOI Solutions to partner at InfoComm 2012 Projectiondesign teamed up with BOI Solutions, Inc., to showcase its F22 projectors, integrated in a 16-channel mixer on its booth at this year’s InfoComm2012 show. The F22 applied commonly used techniques in product visualisation, such as edge-blending , warping of multiple projected images and high-quality, multi-channel, surround sound. Prior to InfoComm, Bill Othick, VP of BOI stated, “We use projectiondesign projectors with our top customers. We’re excited about being part of projectiondesign’s InfoComm exhibit plans and look forward to meeting current and future end-customers while they are literally right in front of our unique approach to visualisation.” Anders Løkke, marketing director, projectiondesign, added, “The InfoComm

show always delivers a strong mix of international integrators and end-users, and we believe our 16-channel projected display, designed and built in partnership

with BOI, will inspire both communities to see how visualisation displays are moving from niche markets into everyday enterprise communication.”

HEILIG AND BMW LIGHT UP THE SHOW Over 300 Robe ROBIN 600 LED Wash and PureWhite moving lights were used to light the pavilion area that showcased the new BMW 6 series Gran Coupe at the BMW stand of the 2012 International Geneva Motor show, staged at the Palexpo Centre in Geneva. Munich based architects, Puchner & Schum, collaborated with Frankfurt based engineers, Structure GmbH, to

design a steel superstructure. Clad fibre glass was used to create two curved, three dimensional, latticed set piece walls, which surrounded the two Gran Coupe vehicles. Throughout the show, the car’s promotional video was set to loop and shown on the hi res LED video screen that was located at the back of the presentation space. Lighting designer Peter Heilig of SfS

Project Aschaffenburg found that the Robe ROBIN 600 LEDWash and the ROBIN 600 PureWhite SW provided a good quality of light, a flat and even beam field, smooth colour mixing and a good zoom range. “The colour mixing is perfect and the zoom range (15 – 60 degrees) exceptional,” remarked Heilig. A hundred and twenty LEDWash 600s were ensconced in the narrow corridors behind the latticed set walls on either side of the Gran Coupe arena – both on the floor and in the air. A cyc wall was lit as well as the set itself and the remainder of the fixtures were rigged on the three circular trusses in the ceiling. To meet the schedule, detailed 3D visualised pre-programming was undertaken off-site and then fine-tuned at Palexpo by programmer / operator Jan Kirchhoff, using a grandMA2 full size console.

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THE BRIEFING

CRYSTAL HALL IN BAKU ILLUMINATED BY FALCON SEARCHLIGHTS A&O Technology was on display for the Eurovision 2012 song contest. German lighting designer, Jerry Appelt, embraced not only the interior of the Crystal Hall in Baku. For the multifarious lighting images, Appelt used inter alia FALCON FLOWER colour 7.000W and FALCON BEAM colour 7.000W luminaires from A&O Technology. Cape Cross Studio + Filmlicht GmbH, the general technical contractor, had nearly seventy FALCON luminaires transported from Germany to the capital of Azerbaijan to provide the two semifinal shows, as well as the grand finale, with their optical highlights. The FALCON FLOWER luminaires were deployed inside the auditorium, where they were installed both above and below the stage, producing scenic effects. Titles like Donny Montells “Love is Blind“ (Lithuania) and Loreen’s “Euphoria“

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(Sweden) were enhanced by the raiment of filigree threads and sequins, which were then scattered by the lights. In addition, the hall, which is over 200 metres long and 160 metres wide, was

ringed by FALCON BEAM xenon searchlights, for which an elaborate choreography had been programmed--the beams opened, closed, flickered and created impressive patterns.


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Buckingham Palace Projection

XL Events lives up to the diamond standard XL Events supplied the Queen’s Diamond Jubilee concert earlier in June. Responding to a commission from the show’s lighting designer, Durham Marenghi, XL Events’ project manager, Steve Greetham, worked for several weeks to specify and supply equipment and crew, both for the stunning projection mapping onto Buckingham Palace, and the onstage wraparound LED screens and IMAG cameras for the concert stage. This was cleverly built around the Queen Victoria Monument in front of the Palace. XL Events supplied a total of 36 Barco FLM HD 20K projectors arranged in 6 stacks

of 6, 12 Barco Image Pros and 2 Lightware DVI matrices, all under the watchful eye of master projectionist, Andy Joyes and his team. XL Events also provided the monitoring, which was utilised by D3 Technologies for the video mapping and playback of video on the Palace. The animation was commissioned by Sam Pattinson, creative director for the projections, using content from a number of different animators. In addition, XL Events supplied all sound and video equipment for the backstage hospitality areas. The large wraparound screen on the main crown-shaped concert stage was formed by

using approximately 600 tiles of Pixled FX-11 LED. The onstage screens were fed with an IMAG mix, using XL’s Sony Z-series HDV cameras, Panasonic camcorders, and monitoring. The onstage provision was managed by crew chief, Graham Vinall, with the screens providing an essential part of the show for the public, both in the crowd and at home. Greetham commented, “XL Events is very proud to have played a part in this historic event. Working in Her Majesty’s front garden presents some very unique challenges, and our crew more than rose to the occasion.”

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COVER STORY

Madonna may have left her fans waiting for two hours, but her reasons may have been justified. Sound & Stage sits down with FLASH’s operations director, Lee Charteris, to discuss achieving naming rights, renovations and refurbishments of the du Arena and Madonna’s 47 equipment trucks that contained everything up to the “kitchen sink.”

W

hile much of the attention at June’s Madonna concert was on her two hour delay during the second performance, once on stage, Madonna was in fine form thanks to the 2.5 day shift pulled by FLASH’s operations / production manager, Haidar Shukri, and his crew, along with the 1,000 plus staff Madonna had on hand during each performance.

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COVER STORY But let’s take a step back and look at what actually went into the creation of a show that contained a massive LED screen, a 24 SqM cooling tunnel and a stage that could hold up to 70 tonnes, well over three times the weight capacity of the normal concert stage. Lee Charteris, FLASH’s operations director, begins by explaining, “In the last couple of months we’ve been successful in achieving the naming rights deal with dU and because Madonna fell so close, this really became a three pronged event for us. Following achieving the naming rights, we then began working on the first renovations and refurbishments of the new du Arena. The goal is to improve the overall presentation of the arena and ensure we are creating a better place for people to come and visit. We began work at the end of April 2012 and changes are still being made ass of right now.” The list of refurbishments and renovations made to the du Arena, prior to the event, included 12,600 SqM of new turf, 6,200 SqMetres of tarmac road, five new venue entrances to aid in-gress and egress, and 2,500 new car park k spaces added, bringing the number to 6,000 available spaces in total. If there was one aspect of the tour Marching to the that caused concern for Charteris beat of their own drum. and his crew, it was the stage. “Once we knew Madonna was coming, what became immediately apparent was that the show was not going to fit on the stage that normally resides in the arena. So we went through the process of taking our stage down and building up Madonna’s.” The concert was held on one of the four Belgium made, Stageco, stages that Madonna has touring with her around the world this summer. And gan the h assembling bl process. while the stage typically used at the dU Two days before the first perforArena can hold up to 50 tonnes, Madonna’s mance, the first of Madonna’s four, can hold up to a total of 70 tonnes and is 747 planes arrived in the UAE. And 10 meters wider and 5 meters taller. Chartin the course of those two days, eris comments, “It truly is made for holding Charteris and his team unloaded what is known as ‘The Madonna show.’“ 47 equipment trucks, all containOn the 21st of May, almost two weeks ing Madonna’s own production before the first performance, 21 Stageco equipment. crewmembers arrived from Belgium and beCharteris explains, “FLASH was

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PLANNING AHEAD Even before arriving at the du Arena, Eighth Day Sound, the audio provider for Madonna’s performances, had to plan ahead for the weather to come. Chief technology officer, Jason Kirschnick, explains, “When we’re asked to perform in a certain environment, we package our equipment accordingly.”

Madonna and her dancers solder ont. into the heat of the nigh

obviously the promoter of the entire performance. All of the infrastructure, F&B, cabins, tents, gates, etc., was provided by FLASH. However, everything else, everything found on the stage, everything down to the kitchen sink, that was Madonna’s.” He continues, “We have never brought in or imported quite so much equipment as we did for the Madonna show.” And the vastness of her equipment seems to have partially resulted in the lateness of her performance on the second night. Charteris explains, “One of the 747 planes was late in arriving. Add an additional sound check and rehearsal time before the second performance and there was a knock on effect during the course of the second day.”

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COVER STORY

KITLIST

Eighth Day Soud, PRG UK, Screenworks and FLASH all work together throughout the evening.

MAIN PA 4 hangs of 24 d&b j8 4 hangs of 8 deep d&b Jsubs 2 hangs of 6 deep d&b V8 center clusters 12 x ground stacked d&b q7 front fill speakers 48 x ground stacked d&B B2 sub cabinets

MONITORS SIDEFILLS 2 x Flown Clusters each consisting of 5 x d&b v8 and 2 x d&b vsubs

DELAY TOWERS 4 x delay clusters each containing 12 d&b J8 and 4 x d&b j12

PA SYSTEM TOTALS 152 d&b J8 8 d&b J12 32 d&b Jsubs 48 d&b B2’s 12 d&b Q7 12 d&b V8

CONTROL EQUIPMENT 3 x digico sd7 audio consoles 1 x digico 007 extender control surface 5 x digico sd192khz input and output cages Also digico NANO and MINI sd cages all in fiber optic loops with complete redundancy. More than 4 x mac pro computers running MADI streams with SSL and RME interfaces. System is driven at 96khz for inputs and outputs

An outdoor performance, at the beginning of the summer months no less, surely must have caused issues with the equipment. Surprisingly enough, this was not the case for Madonna’s two performances. When asked how they prevented the temperature and humidity from wreaking havoc on the equipment, Charteris explains, “We were asked to provide a considerable amount of air-conditioning units.” He continues, “Madonna, like most performers, requests the stage is kept quite warm. This is to help with the vocal chords. But because of the sheer amount of technology

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under the stage, specifically focusing on the hydraulics system, the high temperatures alone required a considerable amount of air-conditioning.” But the units didn’t just ensure the equipment kept working. Both Madonna and her dancers required the air-conditioning in order to keep cool during each one of their costume changes, of which there was a total of eight for Madonna and sixteen for the dancers during the duration of each performance. But would the delay on the second night have seemed so bad to the audience had the performance not been outdoors in the immense summer heat? And to further this, would the need for vast amounts of air conditioning units, as used during this particular performance, be negated if an

indoor arena were to be built in i the UAE? “An indoor arena is inevitable,” Charteris responds confidently. “Over the course of the next few months and years, it will be discussed. It will then come to pass that one will be built. FLASH has aided in the realisation that you can put on shows later into the summer season. Five years ago, talks began regarding the big hole in the summer period. FLASH has played a big part in bridging the gap between the beginning and end of the events season.”

KEEPING THEIR COOL To ensure both the equipment and the performers were kept as cool as possible, the crew placed 44 cooling fans around the venue, installed a 24 SqMeter cooling tunnel, and provided 3,000 gallons of water just to cool the event. An extra 4,000 gallons of water were consumed during the rigging and de-rigging of the stage.


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Exactly one week following the first performance, Charteris and his crew finally saw the back of the stage. But prior to the final de-rigging, the same 21 stage crew flew out to Turkey to set up yet another stage before Madonna’s next performance. They then few back to Abu Dhabi to complete the job. Once finished at the du Arena, the stage was then sent back to Belgium where Stageco made the necessary adjustments for Madonna’s European performances. So does this mean that Abu Dhabi, and the UAE in general, has made a name for itself in the international tour circuit? Char-

teris is convinced that this is most certainly the case. He comments, “Abu Dhabi and Dubai are now hubs for many flights. Whereas flights to Eastern Asia and North America simply use to fly over this area, people are now stopping over. More and more people want to come here and are aware of what to expect.� He continues, “We can now attract many more, larger, performers because of the UAE’s reputation. Thanks to the good reputation, the level of service and overall enjoyment, the UAE has become the place in the Middle East for performers to come.� JULY 2012 SAS

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BRINGING DUBAI TO LIFE Evanescence made their first ever appearance in UAE at the Dubai World Trade Centre. S&S sits down beforehand with Traffik Events to discuss opening acts, the ever changing views of equipment importation and what to do when a set includes a full sized Baldwin.

T

raffik Events joined forces with Dubai World Trade Centre and Evanescence’s Production manager for the Evanescence concert, which took place at the Dubai World Trade Centre on the 22 of June 2012. Coming to Dubai might be new on Evanescence’s tour circuit, but Traffik Events is doing all they can to ensure that the event mirrors the other 29 performances of Evanescence’s summer tour. “We are currently working extremely close with Evanescence’s production team

and the World Trade Centre,” explains Mehdi Gorjestani, events coordinator for Traffik Events. “We tried to get as close to what they wanted and what they have done/will be doing for the other performances during their summer tour. They have even sent us an exact lighting set up based on their own plan.” An exact replica of their other 29 performances will mean that equipment will need to be fairly similar throughout their tour, Gorjestani explains. “They are bringing most of their own equipment-- moni-

tors, mixers, backlighting, instruments, the works. It’s about 5 tons of equipment in total that they’re shipping here.” He continues, “Most artists will just come with their instruments and everything else is supplied locally. However, for this event, we tried to have it so that we are able replicate exactly what they’ll do in every other venue around the world, hence why we’re working so closely with the production team, in order to have the best outcome.” Evanescence provided all of their equipment, as have several other recent perper-

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EVENT PRODUCTION LED Bartens and Martin Macs (amongst others) helped set the mood.

performers, thus begging the question, are artists beginning to move away from using what is provided locally or are these few instances simply coincidental? “I cannot say that people are moving away or towards it,” comments Gorjestani. “Basically, it depends on what the artists want. Nowadays, the big artists want to have this massive ‘world class act’ during each performance, this includes shows in the UAE. It use to be that they would just show up and we’d provide everything for them locally, but now, it seems as though they’re trying to ship everything themselves.” He continues, “It’s sort of a ‘this is my set, I’m bringing it’ mentality.” As we now move into the summer season, bringing with it immense heat and humidity, this can often cause problems for the equipment. However, Gorjestani doesn’t believe this to be an issue. “Sure, it’s warm, but in terms of it affecting the equipment, no I don’t think we’ll have an issue with that. And while the heat from the outside might not be an issue, it seems as though things are certainly heating up on the inside. Working with an event that contains

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Evanescence in the spotlight.

an opening act seems to have caused issues for Gorjestani and his crew— an issue they know all too well. “Typically, with large artists and international acts, they are very strict when it comes to allowing people to move their set around once it’s in place. This is the case with all of the concerts and events we’ve come across so far,” Gorjestani explains. “If there is a big act and an opening act, there is always the issue of how to solve this problem. How does the production team work around an already staged set when the opening act needs a place to perform as well? We had the same issue last year with another artist. There was an opening act and the main band demanded that they set up first because there was open space, ensuring they were able to place

their equipment exactly how they wanted. They were very adamant that the opening band ‘could not touch the equipment,’ at all, which made things very difficult for us. Luckily, as the performance date began to approach, they softened and eventually said, ‘okay we can push a few pieces of equipment out of the way’ and it wound up working in the end.” Gorjestani continues, “We are currently having the same problem. At the moment, the manager of the band is saying ‘no one will touch the band’s equipment.’ But usually, as I said


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before, with the instance last year, on the day they will go soft. I know we’ll be able to work the issues out on the day.” As luck may have it, Gorjestani was correct. The band did soften on the day, allowing the opening act enough space on stage for their equipment.

When asked if there were any further issues they were currently encountering, Gorjestani adds, “No, not at the present. I’m just really hoping for the full cooperation of everyone working to ensure this event runs smoothly, both before and on the day of the performance. We are hoping

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EVENT PRODUCTION

KITLIST AUDIO SYSTEM 24 x Electro Voice XLC 127DVX Line Array Speakers 12 x Electro Voice X-Sub Dual 18” Sub Woofers 4 x Electro Voice XLC Flying Grid Sets 12 x Electro Voice TG5 Digital Power Amplifier 8 x Electro Voice TG7 Digital Power Amplifier 3 x Electro Voice CP3000S 1 x APB Dynasonic 20ch mixing console 3 x XTA DP448 Speaker Management System 1 x Tascam DC Player 1 x 100 m Klotz multi-core 24/12 channel 6 x ton Chain hoists Lot Cables & Accessories 1 x Audio Engineer

VIDEO SYSTEM 2 x Christie DLP 12,000 ansi Lumens Projectors 2 x 8mx6m front projection screens 2 x Preview monitors 1 x Barco Switcher 2 x Cameras with cameramen 1 x Vision mixer with operator 2 x Laptops 1 x Video Engineer

LIGHTING SYSTEM 24 x Clay Packy Alpha spot 1500 watts 12 x Martin Mac 2000 wash 8 x 8 Lite Molefays 48 x Par 64 1000 watts 12 x LED Battens 12 x LED Par Cans 2 x Robert Juliat Followspot 2500 watts 1 x Avolites Art 2000 Dimmer rack 1 x Avolites Splitter 1 x Grand MA Lighting Desk Full size Lot Cables and accessories 1 x Lighting Engineer

TRUSSING & RIGGING ACCESSORIES 3 x 16 meter truss 30cm X 30cm 1 x 20 meter truss (backdrop) 30cm X 30cm 2 x 6 meter truss (projector) 4 x Manual chain hoist (screen) 13 x 1 ton rigging motors Lot Moto controller Lot Cables and accessories 1 x Rigger

STAGING 1 x 15m wide and 10mt deep, 1.2 m high stage with exhibition carpet 1 x 3m wide and 3mt deep, 1mt high riser for lighting 1 x 6m wide and 3mt deep riser for FOH control 2 x Access stairs for main stage

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that everyone can work together. There is just so much to do, so we really need the full cooperation of everyone.” And with a band whose lead singer spends half of her time by a piano and half of her time at the front mic stand, it’s no surprise that Gorjestani and his crew had to come up with an alternative solution of what to do when lead singer, Amy Lee, is not at her piano. Gorjestani explains, “Amy Lee’s piano takes up a lot of space. She will be playing piano for a few songs and her piano will be placed up on a platform and easily in sight of the audience. Following these songs, for the remainder of the show, she’ll be at the front mic and away from her piano. So we tried to come up with a solution.” Mehdi continues, “We’ve basically introduced a hydraulic system under the platform so that the piano is raised when she’s playing. When she’s not playing, the platform will come down, under the stage.” During the performance, the piano was actually carried off stage by crew members. It is agreed that the UAE has certainly put itself on the map of the international tour circuit. More and more big named art-

ists are stopping over to play the UAE, and later into the summer season. Gorjestani and his crew are lucky that the World Trade Centre arena is large enough to hold the Evanescence set and their fans, especially in this heat. However, once an artist comes along whose audience outnumbers the capacity of the World Trade Centre arena, they’ll need to look to other alternatives, possibly ruling out the months June through August all together. And so we’re brought back to the ever pressing question, what about a large scale, indoor arena? Gorjestani provides his own opinion on the matter, “I think that if they keep going further into the summer season with concerts and events, I believe that they will need to create a larger indoor arena. They’ve created a larger arena in the past, but it wasn’t indoors. I definitely feel as though we’ll see one in the near future.”


RAPID FIRE INTERVIEW

10 MINUTES WITH… Sabrina Terence, local DJ, discusses kit, clubs and being female in a male dominated industry.

S&S: How did you become a DJ? It was actually at the end of 2006 when I moved to Dubai from Germany. At the time I was working as a model and had my own model agency in Germany. I must admit, I came to Dubai because of the love of my life. But I wasn’t happy that I was just going to pottery classes. I just thought, “I have to do something else.” I always loved clubbing and was always creating my own mixes on my laptop. One day, one of my friends suggested that I become a DJ. I thought “Well, why not? It’s something new.” I always love a challenge and learning to become a DJ was certainly just that. My husband and I went to Bur Dubai and purchased what I needed to get me started. From there I practiced in my house for one year. To be completely honest, I was absolutely horrible in the beginning. My friends always said to me, “We’re coming for the BBQ, but please, don’t play too much!” But no, in all seriousness, it got better. If you don’t know how to do something, it’s not easy in the beginning, especially when it comes to being a DJ. So, I started in 2007 and played for the first time in a nightclub in 2008 at a Dubai bar called New Asia, which is now called People’s by Crystal.

And was this your first gig? Yes, this was my first club performance. Before then I was performing at BBQs, backyard parties, villa parties, and private events, but this was my first official gig. So as I said, in 2008 I played my first real gig at New Asia and I was incredibly happy with this. I wasn’t well known at the

time, but the owners of the club felt as though they should give me a chance and I really do have to thank them for that-it’s what helped me get my start. So there I was, waiting to go on and terrified. There must have been around 800 people on the dance floor. I actually had a panic attack before I went on because I was so nervous! But when I saw that people were actually enjoying the music and dancing, I thought, “Wow! This is so cool! I really am enjoying this!” After a while, I began making my rounds through the club scene in Dubai. To date, I’ve played just about almost every club in Dubai. I was even a resident DJ for almost a year at Blends in Dubai Marina. Last year I nearly had 1,000 people in one evening! Currently, I also do a lot of corporate events. I’m with Monster Beats as part of the “DJ Army” and DJ corporate events for MAC Cosmetics and Stoli as well.

What equipment are you currently working on in the clubs? I love the Pioneer 2000. Every DJ loves this piece of technology. I admit that I don’t really use CDs anymore because it’s an issue getting through customs in Dubai. They always question why I have so many CDs on me and I always have tto explain to them that I’m a DJ. To prevvent this, I now mainly use hard drives JULY 2012 SAS

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RAPID FIRE INTERVIEW

and USBs. The best mixer is the Pioneer RMX-1000 and I also like the DJM 800. It’s the older version but, to be honest, it’s still one of my favourites. And my headphones that I currently use, both in the club and at home, are Beats by Dr. Dre provided for me by Monster Beats.

And what about your equipment at home? At home, my CD player is the Pioneer 900 and the DJM 800. On my laptop, I use the Traktor and Logic Pro for production.

Who inspires you as a DJ? I have to think. To be honest, I wasn’t happy with commercial music when I started, mainly because I listened mainly to House music. I found that, in the beginning of my time as a DJ, I only played what I liked, but I quickly realised, if you want to be booked, you have to play what your listeners enjoy and be open minded. You want people to be on the

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floor dancing and, in the end, it’s about the listeners, not me. So as I said, I didn’t like commercial music as much in the beginning, but now I’ve really warmed to it. I remember when David Guetta became incredibly popular in the clubs. Everyone

“I think that there will be more people in the DJ box than on the dancefloor!” was requesting him. And funnily enough, a lot of DJs in Dubai would say to their listeners, “Don’t ask me to play David Guetta. I will not play him.” But, to be honest, I was, and still am, happy when people ask me to play David Guetta. In general, when listeners make requests, it provides me with the opportunity to create new mixes and try new artists, David Guetta included. I have to say, he is very smart with what he has done, mixing House with R&B. I guess he would be the

first one who truly inspired me. Tiesto is also on the list of artists who inspire me. He was more of a Trance DJ initially, but now he’s also moved into House music. Madonna also inspires me, but that’s more in terms of music over all, not just as a DJ.

How do you find being female in a male dominated industry? I get this question quite frequently. A lot of male DJs use to say “Oh Sabrina, you only get these gigs because you’re a female” and I have to say, that’s not true. I didn’t get every gig I went for when I first started. Not everyone wanted me. I’m sure some clubs will book a DJ based on the fact that she’s a female. In all honesty, personally, I haven’t found that for myself. For me, and especially now, they book me based on my capability, not on how I look. So I have to say, at times, it was difficult, especially in the beginning.


RAPID FIRE INTERVIEW

I think that that DJs are moving more towards laptops and external hard drives and away from vinyl and CDs.

who are calling themselves “DJs”, yet have no idea how to play on vinyl or CD players. They don’t know the basics, only how to work the programmes via their laptops. Though, that said, even for me, I don’t need to burn CDs anymore. Everything is on a hard drive. I just need my headphones and hard drives and I’m good to go.

So how do you feel this will affect the DJ scene?

Where do you see yourself in 5 years time?

I’m not entirely sure what will happen in the future, but I am very interested to see what the scene will look like in 2 years time. I think with laptops, now everyone can become a DJ. I think there will be more people in the DJ boxes than on the dance floor! But in all seriousness, right now, there are quite a few “laptop” DJs

I had a funny idea. I was thinking about opening my own club or bar. I don’t necessarily know if I’ll still want to be playing in 5 years time. I think I’ll start looking for a new challenge. In terms of my music, I’d like to create a few of my own songs during the next 5 years. But after that? Opening a club, possibly in Ibiza, where I can book my

However, I find it’s much easier now. I have quite a few male DJ friends who I hang out with and we have a mutual respect for one another.

Where do you see the industry going?

24 SAS JULY 2012


NOW WITH UP TO 184 MHz BANDWIDTH

Sennheiser Middle East Office # 345, Bldg. 6E/B Dubai Airport Free Zone P.O. Box 371004 Dubai, UAE Tel: +971 4299 4004 Email: export@sennheiser.co.uk

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CASE STUDY

BARASTI SCORES ONCE AGAIN Football is at the forefront of everyone’s mind for the next month. Sound & Stage chats with Barasti Bar and JR Scenic to discuss the recreation of the Barasti Football Stadium for the 2012 Euros.

B

arasti Bar fans can look forward to enjoying their football experience in the Barasti Football Stadium for the 2012 European Championship. As was the case for the 2010 World Cup, this eye-popping project was headed by JR Scenic’s managing director, John Raby. “Barasti came to JR Scenic two years ago for the World Cup and wanted to design, and work out, what we could do with the space. They wanted it to feel like a football stadium,” Raby explains, noting that he spent quite a bit of his youth at White Hart Lane Stadium, supporting Tottenham Hotspur. From this, it was decided that that they would emulate the concrete terrace scene, the crowd, and the grass. “Everyone loved it back in 2010, so we went with the same idea. Why fix something that isn’t broke? Only main difference this time around was that we had to adapt the use of

26 SAS JULY 2012

a round tend to a rectangular tent. It works incredibly well and provides a better shape for the football pitch,” he adds. Wicked Tents’ managing director, Alistair McDonald, explains further, “Wicked suggested that we make use of the ARCUM roofed system that forms part of our Multi-Form range. In the instance of the Barasti Football Stadium, we installed a 20m wide by 30m long structure. The ARCUM is unique in that, unlike a conventional a-frame structure, it has an elegantly curved roof line. Additionally, the structure comes with rigid windows, walls and doors to create a more manageable and secure environment.” Attendees will enter through the “Players Entrance” on the front side of the tent, while VIPs will be directed around the back to the “Director’s Box.” The outside of the tent has been decorated with sponsors’ logos and the flags of each team

participating in the games. Once inside, the entire standing area will resemble a football stadium. Green ‘grass’ will span the length of the floor along with appropriate markings to give attendees the feeling they’ve, quite literally, just stepped out onto the pitch. Thanks to Derryn French, director of marketing and communications for Mina Seyahi Complex, what has been made to look like “the crowd” to create the illusion of a full stadium, are actually photos of the Polish National Team--incredibly appropriate for this year’s games. The VIP block that sits just above the pitch is made entirely out of timber, but has been painted to give the effect of weathered concrete. “We didn’t want it to look like a brand new stadium, but instead one that’s been


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around for a while,” Raby remarks. Jim Cook, operations manager and head of the JR Scenic art department, is the mastermind behind creating the authentic look of the grass and bandstand. When asked how he made the wood look like concrete, Cook replies, “We mainly just textured paint with a build up of colours to give it a distressed look and a mix of colours to make it look more like a bandstand than a stadium.” The tent will be equipped with an LED screen, a DJ box and a Tweet bar. “This is going to be the first ‘Tweet bar’ in all of the UAE,” explains Tony Mansfield, food and beverage operations manager for Le Meridien, Mina Seyahi. “Literally you tweet your order to the bar and tell us when you want your order by--you could literally do it on your way into the stadium. Your bucket of drinks will then be tagged with your name on it and the time you need to collect it.” Attendees who do not

have access to Twitter will still have the option to order from a number of other bars located in Barasti. Mansfield admits that their biggest challenge of the project has been space, due to immense popularity. He adds confidently, “But thanks to John, JR Scenic and Wicked Tents, the layout has been fantastic. We expect to have initial ‘teething’ issues on the first day, but for it to run smoothly after that” French adds, “This is a fantastic experience. All round we’re expecting a huge crowd to come down. JR Scenic have been on sight for three weeks, but, in actuality, have been planning for about eight months. We’re very excited about the project and cannot wait for it to open on Friday.” The expected over-all attendance is estimated at 2,000-2,500 people per game, though it is likely to exceed this amount. In addition to the Barasti Football

Stadium, which is expected to hold 800 people, attendees will have access to the Club Room that contains 6, 15” monitors, a 4x3 meter outdoor LED screen, plus the whole of the inside of Barasti.

AD JULY 2012 SAS

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BRIDGING THE GAP

the gap

BRIDGING

ISES has officially launched a new chapter in the Middle East and celebrated in style. S&S sits down with the board of directors, prior to the launch party, to discuss becoming officially incorporated, industry issues and international connectivity.

T

he scene was a lively one at the ISES-ME launch party, which took place on the 6 of June at the Jumeirah Beach Hotel. An estimated 300 people attended the event, all bringing with them the prospect of becoming ISES-ME’s newest members. “Our business plan,” explains Adrian Bell, president of the ISES-ME chapter, “is a rather conservative one, with 55 members in the first year. But we’re secretly hoping for 100 members this evening. We’d be absolutely delighted if we were to reach triple figures.” At the time of the event, ISES-ME had exactly 49 members, 11 paid and 38 signed but unpaid. Companies and individuals who signed throughout the evening weren’t required to pay on the spot, but “once they signed the dotted line,” explains Bell, “they are committing.” “But the goal of the launch party”, explains VP of events and sponsorship, Sam Katiela, “is not only to sign up members,

28 SAS JULY 2012

but to let them know that, even though the events season has ended, we’ll still be there for them next season and onwards. Also that, by becoming a member, they will have access to Jumeirah Hospitality Group’s ‘Sirius Silver Card’, which will allow them Food and Lifestyle discounts.” Rebecca Wilson, VP of membership, adds, “Really, the purpose of tonight is to get across the seriousness of ISES and to let potential and current members know that this is a place of business networking, information sharing, and educating. Also to stress that, through joining ISES-ME, members will have the ability to attend events that otherwise they’d either have to pay or wouldn’t have access to at all.” Wilson continues, “Members will also have access to the educational programmes, whereby every month there are ISES talks and every other month there are ISES networking events. We will hit on hot topics within the industry and provide key speakers, round table

discussions or brainstorming sessions. And finally, most important, tonight’s purpose is to stress the over-all recognition that, once you are a member, you are part of a global association that is committed to best practice in standards and quality. It’s about a code of ethics, which I feel is so important.” Sitting down with the board, the dedication to the cause is both resonating and unanimous. Bell confirms this, “We are trying to drive home that ISES is a bridge of international connectivity and we all wear the ISES ‘logo’ with pride.” He continues, “From San Francisco to Sydney, it’s easily the biggest international network. And when a member finds themselves in lonely places around the world, trying to deploy a local client, they’ll know that they have friends everywhere.” Throughout the evening, guests were treated to free food and drink along with a variety of entertainment, from DJ Rafael Niebling providing the music to events com-


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panies, such as Transformers, who provided “Candy” ladies, decked out in real edible cakes and sweets. The Fridge provided intermittent entertainment, showcasing improvisational Latin percussionist, Edikson Duarte, improvisational electric violinist, Pasha Cazan, and acro pole artist, Mario Mira. All in all it was quite a site. ISES ensured that those attending the launch event would experience, first hand, the quality of companies and individuals ISES-ME is looking to attract. But it wasn’t always a cake walk for ISES. While ISES-ME became incorporated only a few months ago, their journey spans as far back as two years. The UK chapter of ISES voiced the idea of creating a chapter out in the Middle East due to the lack of an events association in this part of the world. It would seem this would make for an in-

and individuals. But Bell clarifies this misconception, “During the time we were working on removing the block, we established a good deal of interest.” He continues, “One of the criteria that had to be met in order to become incorporated was to gain the interest of 30 Dubai companies who expressed interest in creating a business group, and we got that. In addition, we created a membership base, albeit not financially committed, but committed none the less.” As soon as ISES-ME became incorporated, a democratic election was held and out of the 12 people who put themselves forward for the position of “board member”, 7 were elected. The 7 board members will now report into the UK chapter on the day to day and month to month activities of the Middle East chapter.

taking this so seriously and are willing to help as much as possible.” But as is the case with anything new, challenges are surely to arise once again. “This is actually the easy part,” Bell says, smiling. He continues, “But in all seriousness, the challenge is now maintaining, sustaining and growing our chapter. ISES, and all event bodies for that matter, are a two way street. You get out of it what you put in. Tonight, Sam has put together a committee of volunteers who have surrendered their time to make all of this happen. ISES is all about committees, sub-committees, and getting things done. As a board, we’re all busy professionals, and unfortunately, we can’t always give 100% of our time. So really, it’s about getting everyone involved and maintaining that involvement.”

credibly easy opening for a business group as well known as ISES. Unfortunately, the cliché saying is ever prevalent and “nothing is ever as easy as it seems.” As the UAE law stands, there is only one business group, per industry discipline, allowed to exist at a time. And according to the records, back in the early 1990s, the Dubai World Trade Centre established a group-similar to ISES--had one meeting and then disbanded. There was then a block put on to prevent the formation of a second business group within the special events industry. In order for the Middle East chapter to become incorporated, the block needed to be removed. However, once this happened, everything fell into motion and ISES became incorporated. The time it took for ISES-ME to become incorporated would seem to have put a damper on gaining interest from companies

With the special events industry still fairly new on the scene here in the Middle East, there are still many issues, which need attending to. “A good part of what we’ll be doing as well is lobbying,” Wilson explains. “I think that the members really want to know that we can be instrumental to help bring about change with issues such as health and safety, which is key when competing on an international level. In addition, there are a million other things we want to improve on the entertainment side, such as finding easier routs through the Visa process for entertainers and ticketing.” The long process that ISES-ME has gone through, in order to become incorporated, seems to have worked in their favour when it comes to lobbying. “Our relationship with the Dubai Chamber of Commerce is unprecedented,” Bell says eagerly. “They seem to be really enthusiastic that we are

Wilson finishes, “People are quite cynical as well. This is why we’re selling the advantages of lobbying and the information sharing and education. It’s about educating people that this is not just another network and once they’re on board it will fall into place.”

MOVE OVER BANKSY. Events company, Transformers, provided a wall of entertainment with their Digital Graffiti Wall.

JULY 2012 SAS

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BUYER’S GUIDE

BUYER’S GUIDE: MICS AND HEADPHONES Sound and Stage Middle East takes a look at the latest in mics and headphones...

PROJECTIONDESIGN F35 SERIES Projectiondesign introduced their newest projector series at this year’s InfoComm show, which took place in Las Vegas from the 13-15 of June. With a choice of WQXGA, WUXGA or 1080p p resolution, and up to WUXGA at 120Hz 3D Active stereo, the he F35 series enables the set-up of high-density displays with fewer projectors, a valuable benefit for multi-channel systems ms requiring the highest resolution possible. Updated functionality lity to the F35 series adds 3G-SDI, HDMI 1.4 and several other I/O options through its unique modular XPort™ extension system. m. XPort also adds advanced back-end signal processing optionss for the projectors to be forward compatible with future formats mats and systems, generating a more future proof and healthy investment, with a longer service life and lower TCO. XPort Extension functionality also adds to the FL35 series, s, the company’s range of WQXGA, WUXGA and 1080p resolution 2nd Generation ReaLED™ solidstate LED based projectors, forming a large and very comprehensive range of high performance projectors.

AIMING AT BOTH THE HIGHER END AND MID-RANGE OF THE PROJECTION MARKET.

SONY VPL-S500 Sony’s VPL-S500 Series data projectors are designed to add flexibility to classroom and business presentations. The VPL-S500 Series projectors achieved large-screen projection from very short distances as a result of the use of an ultra-powerful short throw lens. These projectors also deliver installation flexibility with an optical zoom and lens shift capability. This feature greatly reduces the time and hassle of fine-tuning the image position without having to physically move the projector or sacrifice image quality. In addition, these projectors ship with an

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original wall mounting from Sony which allows adjustment of projector pitch, roll, and yaw. The VPL-S500 Series projectors contain a number of new features. The auto power-saving function (“Eco Mode”) with ith an added long lasting lamp replacementt time of 6,000 hours and picture muting function with lamp control technology makes this product both economically and energy efficient. The VPL-S500 packs advanced projector technologies into a stylish design and is an excellent

choice in delivering a high brightness of 3,000 lumens (VPL-SW535C, VPL-SW535 and VPL-SX535) or 2,500 lumens (VPL-SW525C, VPL-SW525) and high-quality images with XGA and WXGA resolution, respectively.

DELIVERS POWERFUL E TH PRESENTATIONS EVEN IN MOST LIMITED SPACES.


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CANON LCD PROJECTORS Canon has announced four LCD models designed to serve the needs of a wide range of professional users. Common to all of these lightweight portable projectors is a cost-effective combination of high brightness, long lamp and filter life, and convenient auto setup functions. Divided into Advanced (‘A’) and Mid-Range (‘M’) models, Canon’s newest products include the LV-8227A high-contrast projector and the LV-7392A, LV7297M, and LV-7292M multimedia projectors. “Canon’s lineup of LV-Series portable LCD projectors is designed to appeal to a diverse array of markets and applications with excellent cost-efficiency,” stated executive vice president and general manager of Imaging Technology & Communications Group, Canon U.S.A, Yuichi Ishizuka.

Combining high-contrast (3000:1) image projection with widescreen WXGA (1280 x 800) resolution display, the Canon LV-8227A multimedia projector is designed to deliver bright (2500-lumen), highly detailed video and still images even in well-lit environments, such as classrooms. The Canon LV-8227A is also capable of reproducing full 16:10 widescreen images generated by the latest laptop and desktop computers including crisp, well-defined diagrams and spreadsheets - without cropping or compression. Outputting a bright 3000-lumen image, the Canon LV-7392A multimedia projector features a contrast ratio of 2000:1, and is also well-suited for classrooms, labs, and other smaller educational environments. The LV-7392A delivers XGA (1024 x 768) resolution images, as do the LV-7297M and LV-7292M multimedia projectors, which output 2600 and 2200 lumens.

The LV-7297M and LV-7292M are designed for general use by the small office/home office market. All four of Canon’s newest LV-Series portable projectors include a wide array of computer, video and audio connections for compatibility with a variety of media-display devices. Connectors include a HDMI 1.3 input that enables crystal-clear display of high-definition video signals from Bluray players, satellite TV or digital cable boxes, and other high-quality video and audio sources. An RS-232C serial connection provides for full local PC controls when using third-party control software. Finally, the LV-8227A and LV-7392A each include a 10-watt built-in speaker with network control capabilities while the LV-7297M and LV-7292M incorporate 1-watt built-in speakers.

BINATION OF A COST-EFFECTIVE COM LONG LAMP HIGH BRIGHTNESS AND FE AND FILTER LI

SAS JULY 2012

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BUYER’S GUIDE

VIEWSONIC LED D HYBRID LASER AND PRO SERIES PROJECTORS CTORS Previewed for the first time at InfoComm, ViewSonic demonstrated its new hybrid laser and LED Full HD Pro9000 projector. The LED light and lasers combine to create a single light source, resulting in display colour that far exceeds that of a normal mercury light projector. In addition to being environmentally friendly, this mercuryfree technology also delivers a longer operation life of 20,000 plus hours. Paired with dual HDMI ports and its convenient lamp-free design, the Pro9000 is ideal for home cinema

VIBRANT AND RICH DISPLAY COLOURS.

BARCO HD DLP P PROJECTORS Bar has added three Barco heavy-duty and highhea definition three-chip DLP def projectors to its portfolio. pro The Th brand-new HDF-W22 offers 22,000 lumens light of output, the HDF-W26 ou clocks in at 26,000 cl lumens and the HDQ-2K40 generates no less than 40,000 more, Barco’s 40 000 lumens. lumens What’s W HDX-W18, HDF-W26 and HDQ-2K40 projectors will be available with a unique adjustable brightness feature later this year. Thanks to this ‘light-on-demand’ technology, rental partners have full flexibility to tune the light output of their projector to the specific needs of their customer’s event. “By adding three new members to our rental projector fleet, we now cover the entire spectrum of large venue projectors, ranging from 10,000 to 40,000 lumens light output,” says Wim Buyens, senior VP of Barco’s Entertainment division. “We can now meet virtually any customer requirement in the highly demanding rental and staging industry. What’s more, thanks to our unique light-on-demand technology, rental companies can standardize their fleet on a few projector models, tune the light output to the requirements of the event and limit the running cost of their projector fleet.” Barco unveiled the new HDF-W22, HDF-W26 and HDQ-2K40 projectors at InfoComm earlier in June.

32 SAS JULY 2012

environments and Pro-AV installations. “Laser hybrid illumination technology has changed the way that projectors are able to manipulate light and images. This new model is lamp-free for an even lower total cost of ownership. As a result, users get a higher quality picture and ultra high contrast ratio, making projectors with this technology ideal for home entertainment, professional audiovideo, corporate or education use,” says ViewSonic’s product manager, Roger Chien.

VIEWSONIC PRO8300 PROFESSIONAL 1080P The Pro8300 Full HD 1080p commercial grade DLP® projector incorporates BrilliantColor™ Technology with a powerful Pixelworks® 10-bit image processor for vivid colors. Its 1920x1080 native resolution, 3,000 ANSI lumens and a 4,000:1 dynamic contrast ratio produces sharp images, which shine in virtually any ambient light environment. Furthermore, the Pro8300 provides a wide 1.5X optical zoom adjustment for more than 36% additional zooming capability and integrated speakers. The Pro8300 also has a multitude of connectivity options including dual HDMI, dual VGA, and dual computer VGA inputs. As a result, multiple presenters can easily connect an assortment of multimedia devices to the projector simultaneously – from laptops and tablets to smartphones and more. Paired with auto keystone correction, a filter-less design, and energy-saving mode, the Pro8300 provides for zero maintenance, while delivering a lower TCO and longer product life. “Full HD resolution has become somewhat mewhat of a standard feature across consumer home ome and cinema entertainment projectors. However, finding hi-def capabilities in a projector used for businesses is far less common,” explains ViewSonic›s product manager, g , Roger g Chien.

PRECISE STANDALONE 1080P PROJECTION AT A PRICE THAT’S WITHIN REACH.


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PANASONIC PT-RZ470 AND PT-RZ370 SERIES Panasonic has announced the launch of their lamp-free projector series with HDBase technology. This new series of projectors replaces a conventional lamp with new LED/laser diodes boosted by Panasonic’s proprietary technologies to provide long lasting high brightness of more than 3,000 lumens. The 1-Chip DLP™ PT-RZ470 and PT-RZ370 Series will be made available in two different resolutions, 1080p (1,920 x 1,080) and WXGA (1,280 x 800) with capabilities that were not possible before with conventional lamps. The PT-RZ470 Series and PT-RZ370 Series pair an LED/ laser light source with Panasonic’s installation flexibility that includes 2x zoom and exceptionally wide lens. By providing end users with

continuous high brightness and professional grade features, including Edge Blending and Color Matching, Panasonic has enriched the projector usage experience for educational institutions and professional applications such as museums and digital signage. age. Each new model will feature a Digital Link connection. Based on Valens HDBase technology, Panasonic’s Digital Link is embedded in the PT-RZ470 and PT-RZ370 Series, allowing a single cable to transmit uncompressed HD videos, audio o and control commands up to 100m (328ft). The need for an external receiver is eliminated when the projectors are used together with Panasonic’s new ET-YFB100 switcher box or other er

switchers with HDBase chipset. The new lighting technology delivers up to 20,000 hours of virtually maintenance-free operation and as a result, operating costs often associated with periodic labour and service can be drastically reduced.

PROVIDES LONG LASTING BRIGHTNESS

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SAS JULY 2012

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THE

THE GUIDE

GUIDE

This month’s hottest new products from DIS, PR Lighting, Peavey, Aviom, and Allen & Heath. ALLEN & HEATH GLD DIGITAL MIXING SYSTEM Allen & Heath featured the new GLD digital mixing system at this year’s InfoComm 2012. GLD is a scalable live digital mixing system, conceptually based on the digital iLive series. A standard GLD 32 input system offers 28 XLR mic inputs with “plug n’ play” I/O expanders, allowing easy expansion up to 48 inputs (44 XLR mic inputs). At the heart of the system is the GLD80 mixer, providing 48 input processing channels, eight stereo FX returns fed by iLive’s FX emulations, 30 configurable buses, 20 mix processing channels, and DSP power to provide full processing without compromise. GLD-80 has an analogue-style channel processing control section, complemented by a graphical 8.4

inch touch screen. A fully-customisable “drag ‘n drop” layout allows assignment of inputs and mixes to fader strips. There are 20 fader strips in 4 layers, each with motorised fader, a

channel LCD display that can be named and colourcoded and a rotary control for direct access to gain, pan and aux/FX sends. The mixer’s local I/O

comprises four XLR mic/line inputs, four XLR line outs, four RCA inputs, 2 RCA outputs, and digital outputs in SPDIF and AES3 formats. In addition, the GLD-80 connects to a range of “plug ‘n play” I/O racks to “build” 28, 36 or 44 mic input systems. A primary AR2412 rack (24 XLR inputs, 12 XLR outs) and up to two AR84 expander racks (eight XLR inputs, four XLR outs each) can be connected over 120m CAT5 runs using Allen &Heath’s dSNAKE protocol. dSNAKE provides control to the remote preamp, and all mic preamps are scene recallable. The AR2412 also includes a connection for personal monitoring systems.

OUT BOARD ELECTRONICS TIMAX SOUNDHUB-M Out Board Electronics has introduced TiMax SoundHub-M version to the T their suite of TiMax system processors and aaudio show control products. The M-Version is targeted towards museums M-Ve and vvisitor attractions to provide a multi-channel playback server linked mult with audio localisation, bringing a higher level of message impact and highe immersion to visitor experience. imme

34 SAS JULY 2012

The M-Version is a streamlined TiMax2 Soundhub tailored as a museum playback server and matrix. In addition, versions ranging from 32 up to 64 outputs/audio-tracks with just eight inputs for key external sources are included. In line with its usage requirements, the unit has a plain front panel with no display or controls, as a means to reduce costs.


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DYNACORD POWERMATE 600-3 DYNACORD has launched a new edition to its family of powered mixers. The PowerMate 600-3 comes with a variety of new features, including low-noise and low-hum, electronically balanced XLR microphone inputs (low THD, typically <0.002%), stereo line channels, digital audio interface (USB port), PC-MIDI interface and a master section tailored to the needs of day-

to-day practice that features a 9-band master stereo equalizer. The Class-D stereo power amplifier delivers a nominal output of 2 x 1.000 watts RMS into 4 ohms. It also allows optimal and operationally safe adjustment of the continuous power output of the PowerMate’s power amplifiers to the speakers connected, thanks to the unique Speaker Protection technology. Finally, the PowerMate 600-3 also comes equipped with 200 editable effects, 4 x I/0 USB interface and only weighs a total of 9 kilograms. “With the ‘small’ eight-channel

PowerMate, we are responding to an oft-expressed wish of our customers,” said DYNACORD’s senior product manager, Martin Traut.

BARCO TL-358 DIS DDS5900 DIS and Thai distributor Sound & Communication Co. Ltd. recently held the “New Product New Innovation” seminar at Crystal Design Center in Bangkok. Over 100 dealers attended the event to experience the new DIS digital discussion system, the DDS5900. Amongst the main features introduced was the audio quality of the DC5980P unit, a unique 3-in-1 configurable conference unit and the ability to control an entire system wirelessly via a web browser. The system also offers interpretation, language distribution, emergency input and other benefits in a “plug and play” manner. “The feel good response from the dealers on this very cost effective system is extremely positive to experience. We look forward introducing t oduc g tthe e DDS5900 S5900 throughout the region this summer,” states DIS area sales manager, Kim Muurholm Jürgensen.

Barco announced the launch of its TL-358, a 23” Full HD rugged display that combines thinness with exceptionally low weight. The latest member of Barco’s TL (thin and lightweight) family is designed for use in the space-constrained areas of navy ships, unmanned aerial systems, and shelters – offering performances in the most extreme environments. Barco’s TL-358 display provides des excellent image quality in Full HD (1920 x 1080) resolution and in a 23” widescreen (16:9) format. With a depth of merely 47 mm (1.85”) and built to high-level shock and EMI/EMC specifications, the TL-358 is useful for UAS and shelter applications. The display can be easily integrated into racks and comes as a fully enclosed, drip-proof unit. The e TL-358 can be operated between -25° C and 55° C. The betwee bonded optical stack protects the LCD against extreme environmental a conditions and prevents condensation condit in humid climates. The TL-358 hu survives shocks up to 30 g (12.5 m/ survi sec) se and, like all of Barco’s TL

displays, displays the new display is equipped with LCD Flicker Compensation (LFC), low-latency image processing, and Automatic Phase Adjust (APA) technology to eliminate image artefacts. “The new TL-358 makes Barco’s TL series a versatile display family in terms of sizes and ruggedness,” comments Barco’s director of strategic marketing for defense, Peter Pauwels. “We now have a full line of thin and lightweight displays available in 19”, 20”, 23”, and 24” with a variety of screen resolutions and mounting options. Adding the 16:9 LCD format to the traditional 5:4 ratio allows our new TL range to support both legacy and new customer systems.”

SAS JULY 2012

35


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ADAMSON BETA II AND POINT SERIES Adamson Systems Engineering revealed Project Energia’s Beta II, and all of its elements, for the North American market at InfoComm 2012. Furthermore, Adamson will be launching their most compact products yet to the Point Series Installation boxes. The products feature much of the same technology as the original Point Series products line--they simply complete the spectrum of 2-way installation specific products from the largest 15” Point 15, all the way down to the dual 5” enclosure. These mark the smallest Adamson products produced in its history, and they continue expanding the versatility of the Adamson product lines for various markets beyond the live touring market. The new dual 5”enclosure (Point 5) features 1 x 5” LF driver, and a sec-

ond 5”coaxial driver. The 6.5” cabinet features a single 6.5”coaxial driver (Point 6). Both cabinets are built from 12mm Baltic Birch as are their larger counterparts, and are equipped with 5/16” inch screws for replacement with eye-hooks and other screw mounting accessories. They are flyy

With rapid advancement in digital technology and the Middle East’s media industry growing each year, DIGITAL BROADCAST Middle East serves to provide the latest industry news, features and analysis to this booming market. Aimed at those responsible for the delivery and management of media content for television, cinema, radio, mobile and online distribution, DIGITAL BROADCAST Middle East is the ultimate information resource for industry professionals.

able in both a vertical and horizontal plain, and are also Omnimount 20 ready (can be ordered separately). Both cabinets run 2 x NL 4 cables, but can be ordered with a custom barrier strip option. The screens are made of 18 gauge steel with color matched foam, and can be customized in the array of the Architectural RAL color chart, to strategically hide or match the speaker to their surroundings. In addition, these “mini” cabinets serve as lip fill for medium and larger size installations in need of additional coverage, such as a main PA in restaurants using music as entertainment, or public announcement speakers in libraries, schools and offices.

THE BUSINESS OF DIGITAL CONTENT DELIVERY

An ITP Business Publication

3D UPDATE Has 3D made its mark in the region? We find out

THE SKY’S THE LIMIT We talk to Christie about Sky News Arabia

EYES ON SINGAPORE A preview of things to come at Broadcast Asia 2012

IT’S TIME TO PLAY We highlight the details behind OSN’s stellar new Play on-demand service VOLUME 5 ISSUE 6 JUNE 2012

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SAS JULY 2012

37


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WEB LOG DPme.com

Guns’n’Roses ban Slash t-shirts from UK tour with the revelation that the band’s management has instructed security on their current UK tour to demand fans wearing Slash t-shirts remove them in order to gain entry. One member of the security team at the band’s London O2 arena gig explained to the UK’s New Musical Express: “We were told by the management not to allow anyone into the O2 Arena who is wearing a Slash T-shirt and we are asking anyone who is to remove it and if they refuse they will be turned away.”

Guns’n’Roses’ appearance in Abu Dhabi last year may have met with mixed reactions from fans but at least, cultural sensitivity notwithstanding, they were free to choose their own outfit for the event. Not so UK fans, it appears,

Relations between G’n’R singer and sole remaining original member, W Axl Rose, and former guitarist Slash have been strained at best since the band’s protracted split in the early 90s. Perhaps in homage to criticisms levelled at the band after their Abu Dhabi gig, Rose and co have also been continuing with their policy of showing up on stage several hours later than advertised, with an 11.15pm start at Manchester’s MEN Arena currently holding the late, late show record.

JUNE’S TOP STORIES

MOST READ NEWS STORIES OVERALL

1 Heilig and BMW light up the show 2 TV ad rates revealed 3 Saudi’s got talent, within certain parameters 4 London film-company heads to Bahrain 5 Fatboy teams up with XL Video

EDITOR’S CHOICES NEWS

NEWS

PHILIPS GIVES PROFESSOR THE GREEN LIGHT

COLOUR ME PROFESSIONAL

Profession Green’s latest tour to promote his album ‘At Your Inconvenience’ was lit by LD and technical director DPL, Pete Watts. Watts says he specified VL3000 Spot luminaires for a number of reasons. “On this show I used the fixtures for everything from key light from the floor and sides to backlighting and strobe effects,” he explains. With 6:1 zoom optics, CYM colour mixing, a six-position colour wheel, and three gobo/effects wheels, the VL3000 Spot offers Watts an adaptable palette backed by Philips Vari-Lite accuracy and precision, optimal flexibility over movement, and a wide range of colours.

XL Events supplied the LED screens and scenic video, an HD PPU, Catalyst playback and 4 HD cameras for the high profile, 2012 L’Oréal Professional Colour Trophy Grand Final. The set design featured a long curved white catwalk that stretched from one side of the room to the other. A 17 metre wide by 3.5 metre high wall of Pixled F-6 LED screen gently curved along with the shape of the catwalk, while 150 Barco MiStrip, hung in columns of 8 from the roof. The low res scenic ambience provided an organic and random contrast to the high resolution of the F6.

SPOT POLL

MADONNA: WAS IT WORTH IT?

16.7% TO SEE THE QUEEN OF POP AT HER BEST? TOO RIGHT!

38 SAS JULY 2012

16.7%

16.7%

IT WAS HOT. SHE WAS OKAY. THE ONLY THING MELTING WOULD PROBABLY DO IT AGAIN. MORE THAN ME, WAS HER FACE.

33.3%

16.7%

AWFUL SHOW. WHY DID I BOTHER?

SORRY?


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THE GUIDE

Hitlist

The

MUST ATTEND EVENT... PLASA 2012, Earls Court Exhibition Centre, London, UK September 9 to 12, 2012 http://www.plasashow.com

PLASA 2012 is the largest UK international event for entertainment and installation technology professionals. Taking place at Earls Court Exhibition Centre in London, PLASA has been at the centre of the entertainment technology industry for 35 years and is the place to see new technology for live concerts and tours, theatres, nightclubs, permanent installations and leisure attractions. An estimated 15,000 manufacturers, dealers, lighting designers, theatre consultants, architects, DJ’s and many more are expected to attend this year’s event.

YOUTUBE CLIP OF THE MONTH iPhone 4 projector from Brookstones. Keeping in line with The Buyer’s Guide, this month’s YouTube clip is the Brookstones Pocket Projector for iPhone 4. Its 15-lumen LED projector lamp ensures clearer images and the 640x360 native display resolution projects up to 50” images. The focus adjustment allows users to control image clarity, while the integrated 0.5W speaker delivers the audio. The device runs on the Pocket Pro-jector’s built-in 2100mAh battery that charges via USB connection with the included cord. When fully charged, the projector may also be used as a back-up battery for the iPhone 4 device. YouTube search term: Pocket Projector for iPhone 4

App of the month

DJ Mixer Pro Now Apple users can try the DJ Mixer App before purchasing it. The DJ Mixer Pro version provides many of the DJ Mixer App features, only with a limited amount of track space. Much like the DJ Mixer App, the DJ Mixer Pro version allows its users to download and mix free music , anytime, anywhere on any iDevice. Free tracks feature Vegas by Vandalism & Static Revenger, and additional tracks from The Crystal Method, Bassnectar, Photek and many more. Features include Simple EQ, Advanced EQ, High Pass / Low Pass Resonant Filters, and turntable and CDJ mode with full scratching ability on iPhone and iPod Touch. Users can also utilise DJ Mixer Pro to quickly play a continuous mix with smooth fades between songs or to mix tracks at a party. Users also have the ability to “beat match” tracks without affecting the playback pitch. Finally, users are given the option to mix with headphones using a WiFi network or Bluetooth.

SAS JULY 2012

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BACK STAGE

Off the record...

As the European Football Championships continue to draw crowds, S&S takes a look at what local venues and bars are doing to help keep the fans happy.

“It’s official, the Ultimate Football Beach Experience is coming back from the 8th of June! 3 words: Barasti Beach Stadium... Dig out your country flag, wear your colors & don’t forget our special offer only available at our TweetBar!”

Barasti Beach Bar, Barasti Football Stadium, via Facebook

“Hope you guys are all here at Atlantis where we are enjoying the live action on our 10m x 6m HD LED screen...free admission (21+)!” Atlantis the Palm, Atlantis Football Heads, via Facebook

“Watch the football heroes of Euro 2012 live in action in our fully airconditioned stadiumstyle tent complete 40 SAS JULY 2012

with a large selection of International footballfriendly food and drinks, large high-resolution screen and a unique stadium-style Grand Stand seating with additional benches.”

Hyatt Restaurant & Bar, Grand Football Fever, via Hyatt Website

“Watch the game as if you were there. Airconditioned tent, terraces seating, big screens and DJ music every night before and after matches. The Irish Village favourite snacks available every game. Free entrance!” The Irish Village, via Irish Village Website

“We’re happy to invite all football enthusiast to view, watch, and support your preferred team at our revamped ‘XL BEACH ARENA’ during this year’s UEFA EURO CUP 2012. A new 8m screen will be displayed for all games.”

XL Beach Club, XL Beach Arena, via XL Beach Club website



Sound & Stage - July 2012