MONDO | STADIA - Issue 29 - April | May

CITIZENS BANK PARK

BCX WORLD CHAMPIONSHIP

STADE GILBERT BRUTUS

CHRIS FRAZER

Quince Imaging partner with Philadelphia Phillies to provide a spectacular projection show.

Clear-Com play an integral role in the esports tournament, delivering a substantial communications network.

NEXO and Sud Media System combine to deliver state-of-the-art audio at home of the Catalan Dragons.

The AV Integration Specialist discusses his career at Chelsea, along with his exciting, new role at Bendac Group.

ISSUE 29 - APRIL | MAY 2023

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN SPORTING VENUES

FLETCHER M AC HI NE The Adamson Fletcher Machine Remote software offers an easy-to-use yet complete set of mixing functionalities, including EQ, compression, auxiliary sends, and much more. To learn more about the Adamson Fletcher Machine visit our website at www.adamsonsystems.com

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29 WELCOME

e’re delighted to have Arizona’s State Farm Stadium as our cover for ISSUE 29, as we take a deep dive into the technology, design and infrastructure behind this year’s incredible Super Bowl LVII. From the pre-game buzz, Rihanna’s iconic halftime show, and, of course, the big game itself, it was, once again, an event like no other. With contributions from a number of manufacturers, designers and installers, you can check out our coverage on page 22.

We’ve also interviewed Chris Frazer, who discussed his long career at Chelsea FC, his exciting new chapter with the team at Bendac - who he recently joined as AV Integration Specialist - and his view on the future of AV technology in sporting venues.

Elsewhere, we’ve covered a number of venues, including Quince Imaging’s spectacular projection mapping project at Citizens Bank Park, the home of the Philadelphia Phillies, for Independence Day Weekend. Definitely one to check out!

There’s a new NEXO audio system for the Catalan Dragons at Stade Gilbert Brutus, too, as well as a focus on Kappture’s EPOS installation at Motorpoint Arena in Nottingham.

We’ve also covered Dejero’s work for the 2023 Rugby Europe Championship and Unusual Rigging’s project for the Dubai World Cup over in the UAE. Finally, check out our feature on InCrowd Cast - a game-changing, instadia LED display management software that’s used in over 130 stadiums and sporting venues across the world.

I hope you enjoy the latest issue!

W

Sam Hughes Editorial Director

Experience Matters Whether it’s an iconic venue like Wembley Stadium, training academy grounds, or a grassroots pitch, Musco’s sports lighting systems continue to be the solution of choice around the world. Our superior project management expertise, light control technology, system reliability and warranty, and special effects capabilities create unforgettable experiences for players and fans alike.

SCAN HERE to learn more about the Wembley Stadium project or visit

promo.musco.com/mondo2023

©2023 Musco Sports Lighting, LLC · ADSTA23-1

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29 INSIDE…

Cover Image: Dave Shopland / Shutterstock Editorial Director Sam Hughes s.hughes@mondiale.co.uk

Commercial Director Jamie Dixon j.dixon@mondiale.co.uk

Design & Production Dan Seaton d.seaton@mondiale.co.uk

Dave Bell d.bell@mondiale.co.uk

Finance Director Amanda Giles a.giles@mondiale.co.uk

Credit Control ar@mondiale.co.uk

Group Chairman Damian Walsh

MONDO | STADIA is published by Mondiale Media Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Tel: +44 161 476 8340

Printed By Buxton Press

TEAM TALK

LIGHTING

006 Adamson Systems Engineering

062 Six Day Race Berlin | Berlin, Germany

INTERVIEW

EPOS & HOSPITALITY

012 Chris Frazer | Bendac Group

066 Motorpoint Arena | Nottingham, England BROADCAST

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THE FULL PITCH 022 Super Bowl LVII | Arizona, USA

070 2023 Rugby Europe Championship | Europe RIGGING & STRUCTURES 072 Dubai World Cup | Dubai, UAE

VENUE FOCUS PROJECTION MAPPING 046 Citizens Bank Park | Philadelphia, USA COMMUNICATIONS 052 BCX World Championship | Oregon, USA ARCHITECTURE 058 Stade Gilbert Brutus | Perpignan, France

EXTRA TIME 076 InCrowd | Cast 078 Meyer Sound | Panther 080 ADI | Venue Tech Roadshow

Powered Speakers are the Future and Rack Amplifiers are Here to Stay Images: Adamson Systems Engineering

he appealing and value-add art

PA companies like Adamson offer onboard-

variables like cable length, crossovers, and

of designing sound systems for

powered products.

redundancy are reduced or eliminated. The

large venues involves finding the

“We had our eye on powered speakers

most substantial opportunities however, come

right combinations of loudspeakers

long before the technology was viable for

from the ease of implementing higher amplifier

and mounting them in the right locations to

medium and large format venues. It’s not

channel counts to address an increasing

deliver the best possible audio to an audience.

about squishing a two-channel rack mount

number of purpose-built drivers per cabinet.

Those speakers need amplifiers. Therefore, a

amp into a speaker. It’s the combination of

“Although it’s admirable to create rack mount

time-consuming and less glamourous aspect

networking protocols, signal processing, and

amplifiers with 8 or more channels to address

of system design is defining where to house

modular design techniques that make powered

a single cabinet, it’s not something you can

the racks of equipment needed to deliver the

loudspeakers deliver quality and efficiency

scale. As improved loudspeaker performance

air-pushing power to each cabinet, and the

you can’t get with rack-mount setups,” said

and instant reconfigurability become common

complexity of wiring those systems.

Adamson Project Manager, Marketing &

requirements, it’s powered boxes that are going

Since Class-D amplification technology

Applications, Dwayne Slack.

to deliver the goods,” added Brock Adamson,

made amplifiers lighter, smaller, safer and

The future of powered loudspeakers brings

CEO.

more reliable than the previous generation

advantages that won’t be practical with

Those increasing requirements will not remove

technology, the idea of mounting amplifiers

separate rack-mount solutions. When

the practical use of rack-mount amplifiers

on or in speaker cabinets became more and

amplification is designed specifically for, and

anytime soon.

more feasible. Now many major performance

in the closest possible proximity to the speaker,

“Everything from refurbishing previous

T

006

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TEAM TALK

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007

TEAM TALK

008

installations that have the rack-mount space

were not based on reliable class-D amplifier

are driving line arrays and other loudspeaker

and conduit for separate components, to

designs and didn’t offer any meaningful audio

applications to onboard power.

applications where simple two-way speakers

benefit,” continued Slack.

“Powered speakers bring cool benefits. With

are an affordable choice will keep rack

“From the perspective of designing modern

CS Series we share the same power cables and

amplifiers in the installation audio world,” said

high-performance loudspeakers, those early

data connections with the video and lighting

Slack.

experiences are irrelevant. The technology

departments using Neutrik powerCON® TRUE1

For some system designers, powered speakers

and how we test our powered product is in a

and etherCON,” said Weatherford.

raise concerns driven by early, yet legitimate

completely different universe.”

“With a tour, it’s less space in the truck for

negative experiences.

Christopher Weatherford spends hundreds

heavy amplifier racks. In an installation, it’s

“Some of the first mass produce powered

of days a year on the road helping designers

just the placement of a powered speaker that

speakers were portable PA speakers that made

and integrators specify and implement large

takes up space, nothing more.”

their way into installations mainly due to their

venue sounds system. As Head of Applications

low price. However, many of these products

AMER for Adamson he sees the benefits that

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29 INTERVIEW

“As technology advances and becomes more accessible and affordable, clubs will be able to incorporate it into their fan experience offerings in a costeffective way.”

Chris Frazer AV Integration Specialist Bendac

012

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INTERVIEW

CHRIS FRAZER, AV INTEGRATION SPECIALIST, BENDAC Can you tell us about your career – how did you find

content to all the screens in each location.

yourself in the sporting venue industry?

When we first installed big screens in the stadium, which were among the first of their kind in the

I used to work in corporate AV as a Presentations

country, it allowed the club to display in-game

Manager, which involved working on presentations,

advertising and generate revenue. At the time,

exhibitions, and other events across the world.

the screens weren’t used very much, but as the

However, with a growing family, I decided to look for

sponsorship and marketing departments grew, the

something more local - and that’s how I ended up at

technology began to be utilised more effectively.

Chelsea Football Club. In those early days, there were

During my time at the club, we continued to innovate

only 30 games a year, and no other major hospitality

and evolve the use of screens – it was a dramatic

events, which made it a great move for me at the time.

change in terms of stadiums really.

Before I left Chelsea, we were working hard to make

You spent a number of years at Chelsea. What was

it the most accessible stadium in the country. In fact,

your role there?

we had implemented several initiatives to include all members of society, such as: screens in wheelchair

My role was the AV Technical Manager across the

bays for replays; audio systems for commentary for

whole organisation, so that included Stamford Bridge,

blind supporters; on-screen sign language interpreter

of course, along with the training ground – first at

for deaf and hearing impaired people; and we were

Harlington, then Cobham Training centre once that

working with a company called Give Vision to pipe the

was opened – and then Kingsmeadow stadium when

live feed into a headset - much like a VR headset - to

that was added for the women’s and youth sides.

allow partially sighted supporters to watch the game

Essentially, if it came under vision, sound or lighting,

in real time from any seat in the house. Technology

it was my responsibility.

allows these advancements and helps every fan in the stadium feel part of the action.

Being at Chelsea for over 25 years, you must have overseen some dramatic changes in terms of

You recently made the move to Bendac – can you give

technology in the stadium and training grounds?

us some insight into your new role?

Absolutely. When I first started, the scoreboard

My role is as an AV Integration Specialist, which

consisted of static graphics on a printed board. Over

involves working with large-format screens for a range

time, we transitioned to more advanced technologies,

of applications, from giant stadium screens down to

with LED displays eventually coming in and evolving

kiosks and wayfinding displays. My job is to help the

into fully automated systems. Initially, TV screens

owners of these screens integrate their AV into their

were only available in certain hospitality areas like

system to get the best possible results. This involves

executive boxes, but there are now over 1,000 screens

understanding the needs of the club, as well as the

throughout the stadium, including at the training

technical requirements for displaying content on the

ground and Kingsmeadow. To reduce costs, we

screens. Our team of engineers handle the technical

implemented a one-head-end solution that could feed

aspects, ensuring that everything runs smoothly, while

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013

I use my experience to get the best out of the AV system overall.

With your vast experience and Bendac’s ambitious

“I believe what sets us apart here is our attention to detail. Having previously worked at Chelsea and witnessed the implementation of numerous screens, I can confidently say that the team at Bendac strives for nothing but the best possible solution for our clients.”

Chris Frazer

growth, it seems like a perfect combination. What was it, specifically, that convinced you to make the move?

The reason for leaving Chelsea was purely personal and not related to the new ownership or any other factors related to the club’s management. As I’m getting older, I just wanted a change to suit me. I’ve known David Da Costa (Bendac CEO) for a number of years, as well as Bill Gladwin (Bendac CTO) for over 20 years, so I had a really good insight into what the company is like. I told them my plans and it just went from there. It’s genuinely like a family – and I get to do what I love in a relaxed environment without any obstacles. It’s really enjoyable.

How has it been going from working at Chelsea to multiple projects at Bendac?

It was quite a culture shock for me. At Chelsea, I was used to working on a long list from 7:30 in the morning and having that continue well into the evening. So, it was a completely

014

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+44 1225 700 005 info@bendac.tech www.bendacgroup.tech

INTERVIEW

different experience for me when I started working at Bendac.

One of the great things is being able to visit other venues and connect with people in the industry. It’s not just about Premier League clubs - I also get to visit lower league clubs, cricket and rugby stadiums, and basketball arenas. It’s been great to spread y wings a bit, meet other people and share knowledge. If I’m able to help, it’s incredibly rewarding. I believe that if I can bring a little bit of good to someone else through my work, then I’ve done my job well.

Has the move to Bendac allowed you to be a bit more creative and try new ideas?

Absolutely. The atmosphere of the company really encourages that, plus being exposed to different clubs and venues practices makes you think about things from a different angle. Being away from that club setup means there are no restrictions in terms of corporate sponsorship and all that entails, so creativity and making it work for the venues is absolute priority.

As someone that has experience on both sides - what is it about Bendac that makes them stand out in the sporting venue industry?

I believe what sets us apart here is our attention to detail.

Having previously worked at Chelsea and witnessed the implementation of numerous screens, I can confidently say that the team at Bendac strives for nothing but the best possible solution for our clients. We take pride in ensuring that the venue takes full ownership of the asset, and we encourage them to keep the benefits of that asset, too.

While some may see outsourcing as the way forward, we have demonstrated that there is a better way. By showing our clients how to keep their revenue and maintain their technology, we help them make the most out of what they have purchased. The team is committed to delivering the best

016

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INTERVIEW

possible setup for any given situation, and I appreciate that.

How much time do you have? I could talk about this all

Personally, I have a strong desire to do things properly and

day! I’m very excited about the future of fan experience and

to lead in a way that inspires others to do the same. So, this

immersive technology. Nowadays, everyone has a phone

work environment suits me perfectly.

in their hand, and it’s common to see people, especially youngsters, walking around with their heads down, staring at

With your experience at Chelsea, can you tell us how much

their devices. In the stadium, we can deliver stats straight to

of an impact Bendac’s complete LED Perimeter Advertising

their devices and provide replays of critical events, although

System and BOCC Studio could have for clubs / venues?

there are rules and restrictions to follow. One of the exciting things we do at Bendac is LED Virtual Production (VP).

It’s a one-stop shop approach – and it’s the convenience of

We experimented with VP at Stamford Bridge and found

that idea that makes it so valuable to clubs and their venues.

numerous ways to use it, such as letting fans buy their shirts

Having worked at Chelsea for so long, I’ve experienced how

and have them presented by the manager. We’ve also created

advertising comes from different sources. Some is made

3D virtual trophies and props, so fans can experience the

in-house, while others come from agencies, and it can be

celebrations as if they were on the field with the team. The

frustrating when they are late or need to be changed just

cost of LED VP is relatively high right now, but as the price

before a game. With the team at Bendac, we can provide that

comes down, more clubs will be willing to invest in this

creative, which cuts out the middleman and streamlines the

technology. We can also use interactive virtual elements on

process. LED screens are now moving towards a virtualised

concourses and outside the stadium to create an immersive

system, allowing clubs to accommodate different territories

experience for fans as they approach the venue. Virtual

and their advertising needs. The screens within the stadium

studios (VS) and Augmented Reality (AR), two types of Virtual

can showcase more localised content, such as calls to action

Production, are the way forward, and I do believe they will

and in-house advertising, without affecting the overall global

revolutionise the fan experience.

advertising strategy.

Where football is concerned, for example, it’s about finding

The BOCC Studio team is fantastic - their work is second to

the balance between the traditional ways and the new

none. Being able to provide both the screen and the content

technologies. But, I believe that once fans see the benefits

provides a complete solution that clubs can rely on.

and the exciting possibilities of immersive technology, they will embrace it. As technology advances and becomes more

Do you have any exciting stadium projects coming up soon?

accessible and affordable, clubs will be able to incorporate it into their fan experience offerings in a cost-effective

We certainly do, but I can’t talk about them just yet! We’re

way. Over in the USA, it’s probably easier due to the length

working with clubs from the Premier League, Championship

of games in the NFL or baseball, meaning fans are in the

and lower leagues, so it’s a really exciting time for Bendac –

stadium for a full day almost. So, perhaps cricket could be the

and I’m glad to be a part of it.

catalyst for the UK. It’s exciting, and I think we’ll see more and more clubs and venues adopting it in the coming years.

In terms of AV technology, how do you see it developing in stadia over the next few years in terms of enhancing the fan experience?

018

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29 THE FULL PITCH

022 Super Bowl LVII @ State Farm Stadium | Arizona, USA

THE FULL PITCH

SUPER BOWL LVII @ STATE FARM STADIUM Arizona, USA Images: Dave Shopland, Johnny Keirle, Jon SooHoo, UPI, Shutterstock, SIPA, David J. Phillip, Kirby Lee, Daktronics, PRG, PixMob, Harlequin, K-ARRAY

022

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023

THE FULL PITCH

ATK AUDIOTEK | L-ACOUSTICS | POWERSOFT | DIGICO | FOCUSRITE

024

On Sunday, February 12th, nine-time Grammy Award-

volunteers pushing all of the staging elements together just

winner Rihanna took centerstage during halftime at Super

after the referee’s halftime whistle sounds. However, the

Bowl LVII, which pitted the Kansas City Chiefs against the

location of this year’s Super Bowl at State Farm Stadium

Philadelphia Eagles. Or, more precisely, she took off, riding a

meant it would be played on the venue’s unique but carefully

gravity-defying platform flown from the rigging of Glendale,

groomed retractable grass field.

Arizona’s State Farm Stadium, in a production that was as

“The NFL mandated that nothing be on the field this year,

stunning as her eye-popping red outfit. It was a performance

so that meant no carts,” says Powell. Instead, the entire

that rivaled the game itself: 13 minutes featuring the best of

temporary sound system was flown. That, he adds, turned

her big hits, including “Umbrella,” “Work,” “Diamonds,”

out to be a positive one. “Going in the air gave us more room,

and “Run This Town,” and a cast of an estimated 100

which meant more boxes—over 200 altogether, compared to

dancers, many of whom were also suspended in the air. It

the 76 boxes we could load on the carts—which meant more

was a show that demanded the absolute best sound possible,

power and better, more complete coverage, even to the upper

which it had, thanks to an L-Acoustics K2 system deployed

reaches of the bowl.”

by ATK Audiotek, a Clair Global brand.

State Farm Stadium already featured a fixed L-Acoustics

The deployment of the halftime sound system was very

system installed in 2016, primarily comprising a total of 122

different this year. In the past, the temporary music system

K2 and 32 K1-SB enclosures. In preparation for this year’s

was loaded on wheeled carts that could be quickly moved into

halftime show, ATK supplemented the installed system with

position as part of the overall halftime production staging,

six more identical arrays of 13 K2 over four K1-SB, three

which takes place in a matter of minutes with scores of local

arrays per side suspended from the venue’s Brunel truss

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025

THE FULL PITCH

system, plus four sideline hangs of KS28 subs. They also

one gigantic music system made up of the best technology

flew two 10-enclosure arrays of L-Acoustics K2 plus a single

and put together by people who really know what they’re

sub hang of eight KS28 at each end zone. ATK’s system was

doing. It didn’t just sound great—it sounded great

powered by L-Acoustics LA12X amplified controllers, while

everywhere. [ATK audio project manager, system designer,

LA8 amplified controllers drove the house system.

and pre-and post-game event mixer] Alex Guessard and I

“We turned off the stadium’s end-zone K2 hangs because

walked through the entire venue, from the 100 level to the

they weren’t in the positions we needed for the show,”

300 level and two levels of suites in between, and every

explains Kirk Powell, Engineer in Chief for ATK on the

seat sounded great. And that’s despite a challenging rigging

project. “They are more of a shower-cluster design and not

situation that limited where they could place hangs, which

the right fit for the system we designed. The K1-SB in the

were mostly along the sidelines.”

sideline clusters are configured more for low-frequency

Natale had special praise for the system’s low end, which

extension of the clusters,” with the eight clusters of KS28

was especially critical for this show. The combination of the

providing the “true” subwoofer performance. Additionally,

eight-box KS28 sub-cluster in each end zone, the four K1-SB

there was also a first-time deployment of eight Powersoft

atop each sideline hang, and two hangs of KS28 subs, coupled

M-Force 30-inch subwoofers, which were positioned two per

with the additional eight subs, created a “spectacular” low-

quadrant for the lower bowl.

end environment, he says. “They had to move a lot of air in

There was a lot of power and a lot of subs, and, according to

there, and they did, with a ton of headroom to spare,” he

Powell, they all got plenty of use: “This was a heavy low-end

adds. “It was simply powerful.”

show.”

Having an L-Acoustics PA as the installed venue system

Signal transport was over Dante to Focusrite RedNet D16Rs

was also a huge plus. “We went with L-Acoustics primarily

interfaces and from them to the LA12X amps over AES. The

because it’s such a great-sounding system and because it

system was rounded out by a pair of DiGiCo Quantum338

really simplified system design and integration with the

audio consoles at FOH and an SD5 console used to mix

house system,” Powell points out. “It gave us more options,

monitors.

and options are great to have. The show sounded fantastic,

Dave Natale, who mixed front-of-house for Rihanna’s

and everyone was happy with how it turned out. Everyone

performance, has had a storied career. He’s mixed live sound

was smiling at the end.”

for The Rolling Stones, Prince, Tina Turner, Stevie Nicks, Yes,

026

Mötley Crüe, Fleetwood Mac, and more, as well as the four

www.atkaudiotek.com

most recent Super Bowl halftime shows. He was, in a word,

www.l-acoustics.com

impressed by the performance of the K2 system there.

www.powersoft.com

“This was a real ‘rock’ PA system,” says the person who

www.digico.biz

knows one of those when he hears and steers one. “It was

www.focusrite.com

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THE FULL PITCH

SENNHEISER

028

Rihanna delivered the second-most watched halftime show

for coordinating wireless frequencies.

in Super Bowl history on Sunday, exceeding the average

There were over 2000 frequencies coordinated in Phoenix

viewership of the Philadelphia Eagles and Kansas City

over the Super Bowl weekend as dozens of simultaneous

Chiefs football match by five million, according to data

events took place in the area, including the 2023 NFL Honors

from Fox. The highly anticipated performance was driven

Awards, various VIP events, outdoor concerts and more. With

by Sennheiser’s Digital 6000 wireless microphone system

this, and the ever-shrinking spectrum available for wireless

and a custom chrome SKM 6000 transmitter with an MD

microphone operators, the audio engineers and frequency

9235 dynamic cardioid microphone capsule. The choice to go

coordinators for this year’s broadcast had their work cut out

with the Sennheiser wireless system may seem like a minor

for them.

detail, but the sonic integrity of the performance hung in the

“Phoenix is a challenging city because it is the only one

balance as the State Farm Stadium in the greater Phoenix

that officially does not have a vacant UHF TV channel.

area is technically one of the most challenging environments

They are all allocated for broadcast, so there is very little

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spectrum available for wireless mics,” said Joe Ciaudelli,

and communications.

Director of Spectrum & Innovation at Sennheiser, “to

The location and circumstances made the already high-

make matters more complicated, although it is an indoor

stakes Super Bowl halftime show that much more exacting

stadium with a retractable roof, the State Farm Arena

for the audio professionals involved. “Thanks to their

does not provide much shielding from outside RF signals,

resourcefulness and diligent planning, the audio engineers

making it vulnerable to interference.” Ciaudelli is an

and NFL frequency coordinators were able to combat the

industry veteran and international expert on spectrum and

harsh RF environment this year by leveraging Special

wireless system operations. He contributed the chapter

Temporary Authorizations (STA) via the FCC, along with

on wireless microphones to the Audio Engineering Society

some other workarounds,” recounts Ciaudelli. An STA gives

(AES) Handbook and is a private sector adviser in the U.S.

licensed wireless microphone operators temporary access to

delegation to the International Telecommunications Union

frequency bands that are not permitted for wireless mics. The

(ITU), the United Nations’ specialized agency on information

engineers also leveraged channels occupied by low power or

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029

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12.04.23 10:53

THE FULL PITCH

distant TV stations and used clever placement of directional

microphone, but it also has such good intermodulation

antennas to further attenuate these unwanted TV signals,

suppression and a clean RF signal. This is one tool that

before being picked up by the wireless microphone receivers.

would work in an environment where all others might fail

Without this planning and resourcefulness, the entire

– it is a marvel of engineering from both the RF and audio

broadcast, including Rihanna’s performance, would have

standpoints. I am not surprised that it was used by the star.”

been at risk of audio dropouts and interference – a massive

Ciaudelli continued: “This year’s Super Bowl highlights

potential faux pas for her long-awaited showing.

the challenges of a lack of suitable available spectrum for

Beyond safeguarding the wireless signal via the STA and

wireless mics that has led STAs to be a tiresome staple at

directional antennas, the audio team had to be thoughtful

almost all professional sporting events today. Even though it

with the choice of the wireless microphone system

is called a Special Temporary Authorization, it is becoming

for Rihanna. Not only to ensure her vocals sounded as

so routinely used that they might as well start calling them

remarkable as the last time she performed live all those

Standard Temporary Authorizations.” As professional

years ago, but also to combat the tough RF environment

sporting events become more multifaceted and the wireless

and establish a reliable wireless connection. Her MD 9235

audio and video channel counts increase, the challenges of

microphone capsule offered sparkle on her vocals, while the

the spectrum crunch will only get more difficult to navigate.

Digital 6000 did the rest. Ciaudelli shared: “Not only is the Digital 6000 with the MD 9235 capsule a great sounding

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THE FULL PITCH

DAKTRONICS Ahead of the kickoff of football’s biggest game of the season,

the industry-leader and most-experienced LED display

the Arizona Cardinals and State Farm Stadium turned to

manufacturer in the sports industry today. The peace-of-

Daktronics to manufacture and install a new end zone video

mind provided by that experience has led to the success of

display and ribbon displays at the stadium.

many large events on the biggest stages that sports have to

The new video display in the north end zone measures 30

offer.

feet high by 117 feet wide and features a 10-millimeter pixel

A Daktronics service technician was on-site at State Farm

spacing to total 3,663 square feet and 3.1 million pixels.

Stadium in Phoenix, Arizona, USA, a week prior to the

It represents an increase of 44% in size compared to the

game to start pre-event checks on the system. Another two

previously existing display and introduces 7.3 times the

technicians joined this person at the stadium two days before

pixels to deliver higher resolution imagery to fans on the

the game to continue the service checks, run dress rehearsals

sport’s biggest stage.

and provide on-going support throughout the game. All

“These big games and exciting moments in sports are why

three technicians ensured everything operated as expected

we strive to provide the best products and services available

and were available to jump in to support a smooth overall

on the market today,” said Daktronics Vice President of

production.

Live Events Jay Parker. “State Farm Stadium now has a full

The two ribbon displays in stalled prior to the 2022 football

season under its belt with new displays and put on the best

season helped surround fans in the game-day excitement.

show possible for football’s biggest and final game of the

They added to the entire system that totals 19 LED displays

season. We’re proud to play a part in the overall experience

that combine for 20,700 square feet of digital canvas used to

they provide.”

inform and entertain fans at every event held at the stadium.

The game in February 2023 marked Daktronics’ products and services being used at 18 of the past 19 professional football championship games. These teams turn to Daktronics as

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THE FULL PITCH

PRG The results are in, and The Big Game was third most

Rihanna made her highly anticipated, gravity-defying debut

watched television programme ever. More than 118 million

to the halftime stage, featuring seven flown platforms, more

viewers and seven million streamers watched as the Kansas

than 200 dancers in all white, and zero guest performers.

City Chiefs and Philadelphia Eagles went head-to-head,

This was Rihanna’s solo moment, and the Roc Nation

with Rihanna taking the stage during halftime for her first

superstar artist did not disappoint, playing a medley of her

performance since 2018. PRG brought technical labour,

biggest hits before finishing off the 13-minute mash-up with

lighting, rigging, networking and LED to 2023’s pregame

a performance of her song ‘Diamonds’.

coverage and player introductions, and once again provided

PRG has been the trusted lighting provider of the halftime

lighting and networking for the Apple Music Halftime Show.

show for more than 20 years, and this year, in partnership with PRG Forum, is once again providing lighting and

Pregame LED, Lighting and Rigging

fiber network integration throughout the stadium for the

Production Club was back designing the custom light show,

lighting design by Al Gurdon and Ben Green. The Lighting

video wall and display featured in FOX sports coverage

Director was Harry Forster, with Eric Marchwinski and Mark

prior to Sunday’s game. PRG provided lighting and LED for

Humphrey programming the show and Alen Sisul gaffing.

the Lombardi Trophy presentation, lighting for DJ Snake’s

Willo Perron conceptualized the show, with Bruce Rodgers as

performance, and lighting and LED for the player intros.

Creative Director and Production Designer.

Live locker room footage featured PRG’s tunnel lighting and

Gear from PRG included cables, networking, power,

LED walls. Then, players from both teams entered the field

infrastructure and more than 600 lighting fixtures, among

through custom carts fabricated by All Access, outfitted in

them 6 proprietary PRG GroundControl Longthrow™ units,

ROE CB5 LED panels and lighting supplied by PRG. Production

controlled by three Full GrandMA3s and one Light.

Club described it as “a vornado of scenic, lighting, SFX and

During the halftime commentary, fans got a glimpse of the

video.” Visuals were Art Directed by Native Arizonian and

7.5-minute setup, as the crew quickly assembled the stage

Navajo Artist Randy L. Barton.

and all production elements.

Tim Fallon acted as the Technical Director with Sophie Reeves

“This halftime show was a historic moment for Roc Nation,

as Lead Producer and Griffin Behm as Designer and LD for the

and PRG was proud to support it,” said PRG VP of Sales Tony

segment.

Ward. “Providing lighting for the most watched moment in

PRG sent six lighting technicians, a fiber networking

television is a challenge and a privilege that we look forward

engineer, and an on-site project manager for the pregame

to taking on each year.”

segment. The lighting order included four GrandMA2 consoles distributed on site and more than 100 fixtures.

Halftime Lighting and Networking

034

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www.prg.com

BRING THE ENERGY The Minnesota Twins upgraded Target Field in a big way ahead of the 2023 season. Daktronics, with a long history of working with the team dating back to the 1990s, was selected to deliver 22 new LED displays totaling more than 23,000 square feet (2,135 square meters) including the sixth-largest main video display in professional baseball.

Scan the QR Code to learn more or visit us at Daktronics.com/ProfessionalSports

THE FULL PITCH

PIXMOB PixMob’s fifth appearance at the Super Bowl LVII Halftime show looked a little bit different than the four previous occasions the Montreal-based company had been involved.

This year, Rihanna and her dancers appeared on seven floating platforms, which were illuminated by PixMob technology, over the State Farm Stadium. These platforms, which were automated by TAIT over a gorgeous red set designed by Bruce Rogers, were a first of their kind at the Super Bowl. This was a particularly novel way for PixMob to be a part of the highly-anticipated event, compared to previous years, for which the PixMob team provided wearables for fans within the stadiums to create a visual

the playing field that allowed the team to achieve that, even

spectacle that was truly incredible.

with the platform close to the ground.

To light up the platforms, PixMob used its new wireless

An additional challenge that was brought to the team

NOVA product - the company’s brightest pixel ever made. A

was to remotely control the LED tape placed on each

total of 600 rugged LED NOVA’s were found in each of the

platform. Again, with the IR technology and the research

seven platforms, creating a total of 4,200 units. A diffusing

and development team’s hard work, the invention of a new

system was created by TAIT to overlay uniform colours

hardware device was completed in less than three weeks to

throughout all platforms. Powered by a rechargeable LiPo

specifically respond to this challenge.

battery, each pixel had a lasting charge of 25 hours, allowing

PixMob, once again, demonstrated its ability to innovate and

the batteries to only be changed once during the two weeks of

transform - a signature ability of the company when it comes

rehearsal leading up to the show.

to large-scale events - to help deliver another spectacular

The desired effect by the production team was to have

Halftime Show.

colours and movement under the platforms at all times. With

“We are super proud of our whole team, and the success of

the execution of the grouping effects and the 12 Infrared

the Super Bowl Halftime show and grateful for the incredible

controllers, PixMob were able to create movement and

people we got to collaborate with once again,” said Jean-

different lighting patterns throughout the show.

Olivier Dalphond, partner at PixMob.

One of the main challenges was to make sure the platform was lit up wherever it was - and it was the IR reflection on

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www.pixmob.com

LIGHT UP ANY VENUE OR ANY STAGE Our new, extra bright NOVA can be used on stages, seating, flying platforms, stadium handrails or for all kinds of creative installations. They offer advanced lighting effects, up to 25 hours of runtime and can be synced to our other wearables.

Rechargeable

Wireless

Easy to install

Available for rent

THE FULL PITCH

HARLEQUIN Rihanna’s much-anticipated performance at Super Bowl LVII

Chapman explained that, although they were not aware in the

was one of the most talked about halftime shows of all time.

initial stages

After a seven-year break from touring and performing live,

what the Hi-Shine was going to be used for, the team was

Rihanna returned to the stage for her much-anticipated

delighted to see the end

performance at Super Bowl LVII. The superstar performed a

result and to have played an important role at Super Bowl

12-hit medley at the iconic halftime show.

LVII halftime show: “The Harlequin Hi-Shine silver floor on

TAIT were brought in from the beginning to deliver an

the platforms was laid perfectly, giving a dramatic effect and

audacious set design, which included automated floating

tying the performance together nicely.”

platforms that elevated Rihanna several feet in the air as she

Airing from the home of the Arizona Cardinals, which boasts

performed at the State Farm Stadium.

a total capacity of over 63,000, the performance was captured

TAIT also had to oversee the fabrication of the set, as well as

by TAIT’s Navigator Camera System. TAIT also rigged each

deliver their automation experience.

platform in various locations to ensure extra stability while

For the surface of the floating platforms, the company opted

Rihanna and her dancers were moving around during the

for Harlequin’s Hi-Shine silver.

performance.

Melissa Chapman, Senior Group Marketing Manager at Harlequin, gave her thoughts on the project: “Our Hi-Shine silver is often chosen for live events across the world due to its fabulous reflective, mirror effect. This worked really well in contrast with the white and red outfits worn by Rihanna and her dancers.

“The installation process of this product is quick and easy and always gives a great overall effect, especially when paired with amazing lighting.”

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THE FULL PITCH

K-ARRAY

040

In preparation for its coverage of Super Bowl LVII, FOX Sports

K-GEAR GH12’s were also used as front left and right fills

built a remote studio on site, directly across from State

outside the remote studio section, where the main talent desk

Farm Stadium, at The Great Lawn in Glendale, Arizona. FOX

was located. KAN200’s were also used inside the studio as

Sports requested a one-of-a-kind PA sound system that was

audience foldback during several FS1 shows with a live studio

uniquely suited to the studio, in that it needed to both sound

audience, such as ‘Undisputed’ with Skip and Shannon.

great and look the part for the local fan experience.

The entire system was connected by analog Ethercon and

“We needed a discreet yet powerful production audio system

XLR, as well as being controlled and mixed by a DiGiCo SD10

integrated into our Live Presentation Stage for Fox Sports’

digital audio console.

coverage of the 2023 NFL Super Bowl,” explained Rod Conti,

CP Communications has a long-standing partnership with

Vice President of Remote Studio Operations at FOX Sports.

FOX Sports, providing mission critical transmission solutions,

“K-ARRAY was introduced to us by our long time audio

RF Audio and RF Video, and B4B broadcast services. Sean

vendors, CP Communication. With their strong, hands-on

Sweeney, PA Project Manager at CP Communications, worked

knowledge of audio and existing relationship with FOX, this

closely with Technical Producer and FOX Sports Consultant,

was the perfect introduction to this cutting edge technology.”

Daniel ‘Pineapple’ James for the initial placement, layout,

The collaboration between K-ARRAY, CP Communications,

cabling, and signal flow for each of the K-ARRAY PA towers

and the visual concept and design drawings showing the PA

and centre fill components.

towers complementing FOX’s remote studio set was created

The custom PA towers became an integral part of the

and submitted by Sean Sweeney, which helped portray

remote studio for the on-site fan experience. These physical

to FOX’s technical team that K-ARRAY would be the best

structures were fabricated by FOX’s staging provider,

application to use for one of the most popular televised

Filmwerks, and the PA tower structures provided the ability

events worldwide.

for both the Kayman and Kobra speakers to be rigged and

CP Communications provided multiple K-ARRAY systems

mounted within the interior portion of each tower. Every

within six custom fabricated PA tower structures (KY102’s

section of these 12’ towers were custom branded from top to

and KK102’s), which were powered by various KMT218’s and

bottom with FOX and SBLVII logos, and artwork, which then

KMT18’s. The centre fills for the entire front of the remote

helped to conceal the appearance of any hardware for live

studio were covered with 34 x KAN200’s, powered by the

television, which was a very important visual concern for FOX

KS4 I’s subwoofers and the KA24 amplifier. K-ARRAY’s

Sports.

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“I first met Sean Sweeney during the 2019 inaugural season of our Fox Sports’ Big Noon Kickoff show,” added Daniel ‘Pineapple’ James. “We were already using CP Communication’s RF video division, so it only made sense to implement their audio/ PA division. Sean, his team, and CP as a vendor, became a very important part of our weekly College Football show.

“So, during the 2021 season of Big Noon Kickoff, Sean had the opportunity throughout the season to teach me a lot about the K-ARRAY system, the thought behind the placement and how it really integrates into a show. We have used a mix of the K-ARRAY Kayman, Kobra, and the Ankonda speakers on a bunch of Fox Sports productions from BNK, Nascar, MLS, and, recently, for the World Cup in Qatar.

“K-ARRAY has come up with a unique, sleek, but powerful system with a small footprint. It’s a high-end audio solution that performs at a very high level. As a Freelance Technical Producer for live sports and entertainment productions, I know how important it is to have zero technical difficulties and how unforgiving a live crowd can be, especially with remote studio productions. An event like the Super Bowl has the world watching and expectations are high, so you obviously want everything to be perfect in terms of technology, while also looking visually amazing. The slim line array technology by K-ARRAY allow us to accomplish this - of course, with the help of CP, our art directors, scenic teams, VP’s and the K-ARRAY specialist, Sean Sweeney.”

The feedback on the K-ARRAY system used at FOX Sports’ remote studio has been universally positive, with the audio quality and sleek, creative design making a huge impact.

“The K-ARRAY product line provides FOX Sports with the most versatile and effective PA sound solution we have come across in to date,” concluded Rod. “In this unique environment, with our live televised broadcasts meeting with a live, on-site audience, the results from the lightweight, low profile system provided us with versatility that we didn’t have before. K-ARRAY has opened the door to creativity in sound distribution that has lent to FOX’s unique approach, leading the industry in sound and design innovations “Since our introduction to this line of products, we haven’t looked back. The future looks good for FOX Sports and K-ARRAY partnership.” www.k-array.com

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041

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PLSG23_318x245_Mondo Stadia.pdf

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29 VENUE FOCUS

PROJECTION MAPPING

EPOS & HOSPITALITY

046 CItizens Bank Park | Philadelphia, USA

066 Motorpoint Arena | Nottingham, England

COMMUNICATIONS

BROADCAST

052 BCX World Championship | Oregon, USA

070 2023 Rugby Europe Championship | Europe

AUDIO

RIGGING & STRUCTURES

058 Stade Gilbert Brutus | Perpignan, France

072 Dubai World Cup | Dubai, UAE

LIGHTING 062 Six Day Race Berlin | Berlin, Germany

PROJECTION MAPPING

CITIZENS BANK PARK Philadelphia, USA

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PROJECTION MAPPING

Q

048

uince Imaging partnered with the Philadelphia

The 10-minute production led to a 3D projection light show

Phillies to provide baseball fans with a

showcasing stirring patriotic images and celebrated local

memorable projection show in an Independence

landmarks on the infield before the annual fireworks show

Day celebration like no other.

began. It was the culmination of months of hard work to

As the birthplace of life, liberty, and the pursuit of happiness,

provide fans with a unique pre-game experience.

the Fourth of July is Philadelphia’s hometown holiday. Last

Along with creating memories of a lifetime for those in

summer, the city’s beloved Major League Baseball team,

attendance, the production resulted in the Phillies becoming

the Philadelphia Phillies, wanted to put their stamp on the

the first MLB team to utilise projection mapping for a regular

holiday with a celebration as iconic as America’s favorite

season game in tandem with the other immersive elements

pastime. Impressed with the reaction received from fans

for a truly unforgettable fan experience.

following the dazzling projection show at the Las Vegas

Quince Imaging provided a complete creative package that

Golden Knights’ season-opener against the NHL’s Seattle

included design, installation, content, and production

Kraken in October of 2021 produced by Quince Imaging,

services, with an 11-person crew working at Citizens Bank

Phillies’ Marketing Events & Special Projects Director, James

Park from June 25-July 5, 2022, to put the show together.

Trout, contacted Quince in the spring to make its annual

On-site production and logistics coordination included

fireworks event bigger and better with a jaw-dropping

structures, power, video equipment, and facility interfacing.

projection experience on the field before the fireworks at

The project had two main requirements: to design and sync

Citizens Bank Park.

with the lead-in video produced by the Phillies and to work

Playing before a sellout crowd of 44,225 people, The Phillie

directly with Pyrotechnico pyrotechnics company to tie in

Phanatic Saves the 4th featured one of the most popular

Quince’s final projection with the start of the fireworks show.

mascots in sports in an action-packed adventure to save the

The technology package included 12 Christie Boxer 4k30

first bat in America.

projectors, two disguise vx4pro media servers, and software

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049

PROJECTION MAPPING

ranging from Cinema 4-D to Mapping Matter by disguise.

provided a shared moment for fans and their families to

The Phillies baseball schedule was busy leading up to the

cherish. The Phillies’ projection mapping installation during

event, giving the production team a limited timeline for

their MLB World Series run was a stunning addition that

rehearsal and set up for a large-scale project that required

captured the attention of fans and created a lasting impact.

perfect execution. Logistics during load-in and set-up posed

Quince applied its expertise and creativity to help make

a challenge. They needed careful coordination to maintain

this remarkable event successful. Being integral to such a

stadium operations leading up to the event, with several

significant moment in sports history was truly meaningful

Phillies home games taking place during this time. However,

for the company:

the clear storyline provided by the Phillies marketing team

“It’s a feeling that I want to bottle up forever and never let

helped Quince Imaging utilize its technology in the most

go,” Phillies’ Video Content Manager, Mike Licisyn, said.

advanced way possible to execute a flawless experience.

“The fans were so engaged in every aspect of it. The fans

Quince Imaging was proud to have contributed to an

were laughing and cheering, and then when the Phanatic

unforgettable fan experience that honoured the country and

arrived, the entire stadium erupted. It was incredible.”

BRANDS: Quince Imaging, Christie, disguise 050

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COMMUNICATIONS

2022 BCX WORLD CHAMPIONSHIP Atlanta, USA Images: Clear-Com

H

eld in November 2022 at the Cobb Galleria in Atlanta, GA, the BCX World Championship is the 7th annual event of its kind. It is also the biggest Brawlhalla esports tournament ever, and the first open, in-person event with attendees since 2019. Developed by

Atlanta-based Blue Mammoth Games and published by Ubisoft, Brawlhalla is an immensely popular free platform fighting game with over 80 million players worldwide. Beyond the competition itself and the opportunity for fans to congregate and meet other like-minded individuals, the event was a full expo featuring a variety of activities and series of developer panels throughout the three-day event.

Given the overall scope of the 2022 BCX World Championship, a substantial communications network consisting of a variety of systems and different manufacturers’ technology was necessary. And Clear-Com was integral to ensuring all those elements played well together.

Designing and implementing comms systems in the esports space can be challenging, explained Dylen Roberts, Director of Production Operations for Skillshot Media, the company mounting the event: “It’s a space where many

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COMMUNICATIONS

054

people don’t know how the systems interact. There are a lot

case, that was Clear-Com Product Manager, Frank Linton,

of different systems that have to talk to each other that you

who worked closely with Skillshot on the system design

wouldn’t normally use in traditional sports environments.”

and was pivotal in integrating the various communications

As a longtime Clear-Com partner, Skillshot’s use of Clear-

technologies.

Com technology is “almost like beta-testing products”

Prep work and pre-planning among multiple stakeholders

for the Esports environment, Roberts added, citing the

(event organizers, executive producers, production crew,

company’s early adoption of Clear-Com products, including

competitors, on-air talent, and game developers) took

HelixNet, FreeSpeak II, the recently released Arcadia

roughly six months. The three-day event involved two

platform, and Station and Agent IC.

simultaneous live broadcasts, seven simultaneous transition

For the BCX World Championship, Skillshot deployed a

feeds, and 30+ hours of broadcast captured by approximately

system comprising an Eclipse® HX-Median frame, two

35 cameras. Moreover, it required rock-solid, reliable

E-DANTE and one E-IPA interface card, five FreeSpeak II®

communication between roughly 200 crew members, 17 on-

transceivers, 20 FSII beltpacks, 12 V-Series Iris™ panels, and

air talents, and over 600 active competitors.

three Station-IC™ Virtual Desktop Client and Agent-IC®

Calling this an unusually comms-heavy event is an

Mobile App licenses.

understatement. “These world championships are the biggest

Coordinating the various systems and ensuring they’re

events for game developers for the entire year; the equivalent

working correctly and set up clearly requires “a lot of hands,

of a Super Bowl for esports,” Roberts said.

brains, and voices,” Roberts noted, adding that the amount of

Although the technical requirements are different and the

traffic and conversation flow for an event like this goes well

playing field is virtual, the pressure to perform is similar to

beyond everybody taking orders. “There’s a lot of two-way

traditional sporting events for gamers and everyone working

traffic in the communication workflow, so we always bring in

behind the scenes. It’s a fast-paced gaming environment,

a comms specialist to put the puzzle pieces together.” In this

even more so than a traditional sporting event, and one with

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FreeSpeak FreeSpeak FreeSpeak FreeSpeak FreeSpeak IIII II IIII

Integration Integration Integration of wired Integration of wired Integration of wired ofFlexible wired ofFlexible wired Hybrid Hybrid Hybrid Hybrid Hybrid &Flexible & Flexible &Flexible & & Speaks Speaks Dante Speaks Dante Speaks Dante Speaks Dante EasyDante Easy to Use to Easy Use to Easy Use Easy to Use HelixNet to Use HelixNet HelixNet HelixNet HelixNet and wireless and wireless and wireless and wireless and Future-Proof wireless Workflow Workflow Workflow Workflow Workflow Future-Proof Future-Proof Future-Proof Future-Proof Integration Integration Integration Integration Integration

InfoComm InfoComm InfoComm Booth InfoComm Booth 3854 InfoComm Booth 3854 Booth 3854 Booth 38543854

COMMUNICATIONS

056

fewer breaks in play. Then there’s the additional layer of

same continues to fuel the success of Skillshot’s ongoing

capturing and transmitting audio from computers and game

work with Clear-Com. “I would say our partnership is built

consoles that aren’t necessarily designed for broadcast.

around education,” Roberts says. “We train people to use

On-site or not, for everyone involved, in any capacity,

Clear-Com so they can go out and support others in the

counting down to going live is intense. “There’s little room

industry. We do workshops with Clear-Com covering how we

for error,” Roberts added. “Live production is unforgiving;

integrate systems in esports -- which, again, is very different

once it’s out there, it lives on the Internet. It doesn’t give you

from other broadcast applications.”

a chance to correct mistakes. So communications can make

Ultimately, Clear-Com is a no-brainer for Skillshot for a

or break the show.”

multitude of reasons: the price point, quality, reliability, and

“The Clear-Com system was invaluable,” he continued.

the wide range of technology on offer.

“For us, the most important thing about Clear-Com is that

“They take a lot of pride in making sure people buying

with all the different products and features, we’re still able

their product are offered training and support. That’s a big

to integrate it with other systems and their mainframes. No

element for us,” Roberts added. “But, most importantly, it’s

event we’ve done has been the same, so we always have to

the audio quality. Even when people in-house open their

have the ability to add, subtract or change the gear to mix

mics in a loud environment, it’s clear and defined, and we

and match technologies.”

can actually hear that (level of) definition through them.

Doing so fluidly and efficiently and helping others do the

Clear-Com is a great provider.”

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AUDIO

STADE GILBERT BRUTUS Perpignan, France Images: NEXO 058

WWW.MONDOSTADIA.COM

H

ome to the French rugby league team the Catalans Dragons, Stade Gilbert Brutus in Perpignan underwent a two-phase expansion in 2006 and 2010 to bring capacity up to 13,000 with

three all-seater stands.

The southern French city is also home to the rugby union team USAP, whose home stadium Stade Aimé Giral is equipped with a NEXO GEO S12 sound system, installed by local AV technology specialists Sud Media System.

Clearly impressed by the sound at their neighbour’s stadium, Stade Gilbert Brutus recently contracted Sud Media System

to install a NEXO system at their ground, following a public

module that displays exceptional MF-LF output (103dB SPL

tender process.

nominal sensitivity -1W @1m) from a single 12-inch LF

The choice of several prestigious sporting venues including

driver and NEXO’s proprietary Directivity Phase Device (DPD).

Croke Park in Dublin, Optus Stadium in Perth, Japan’s

NEXO’s unique Hyperboloid Reflective Wavesource (HRW)

Toyota Stadium and the French national stadium the Stade

allows coupled cabinets to radiate as coherent, wavefronts,

de France, NEXO’s GEO S12 has earned an enviable global

yielding precise pattern control in vertical or horizontal

reputation for performance, dependability and cost-

arrays.

efficiency.

The system at Stade Gilbert Brutus was designed by NEXO’s

Available in EN54-rated and long-throw versions, and in

Engineering Support team using the company’s NS-1 system

shallow or steeper tapering cabinets to allow for larger array

configuration software. An intuitive drag and drop interface

angles, the compact, 2-way GEO S12 is a scalable loudspeaker

includes all NEXO systems with measured speaker data

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AUDIO

processed along with complex mathematical data to predict

processing provided by NEXO’s networkable NXAMPMk2

SPL and delay coverage in 3 dimensions. NS-1 combines full

powered controllers.

acoustical and mechanical computations along with tools

The notoriously windy conditions in Perpignan required the

for optimising curved vertical array design. A Help section

team at Sud Media System to manufacture and certify custom

defines mechanical constraints to establish flown system

brackets to attach the new enclosure clusters to the existing

safety, and generates reports for system dimensions, weight,

structures.

gravity centre position, forces, moments, working load and

Members of the NEXO Engineering Support team visited the

safety factors.

stadium to tune and commission the new sound system,

The Bonzoms Stand is covered by six clusters of three GEO

including Carole Marsaud (pictured centre). “It was good to

S12, supplemented by six NEXO P10 point source loudspeakers

work with the team from SMS who completed a very clean

covering the highest seats in the stand on a delay. Six

installation at this second stadium in Perpignan. The sound

clusters of four GEO S12 cover the West Stand and a further

was great in all the stands, and we achieved excellent results

seven P10s cover the smallest stand, with amplification and

for both SPL and intelligibility.”

MANUFACTURER: NEXO | DESIGN & INSTALLATION: Sud Media System | WEBSITE: nexo-sa.com, sudmediasystem.fr

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PITCH PERFECT SOUND

From local arenas to flagship international stadia, NEXO delivers a thrilling sonic experience for fans along with full safety compliance for stadium operators.

Find out more about pitch perfect sound at nexo.sa.com

Thinking. Inside the box.

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LIGHTING

SIX DAY RACE BERLIN 2023 Berlin, Germany Images: Cameo

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rom January 27 to 29 2023, the 110th Six Day 2023 took place at the Velodrom in Berlin. The cycling race, also known as the Six Day Race, is one of the absolute sporting highlights of the German capital, sending the professionals out on to an impressive 250-metre oval track. This year, the lighting in the Velodrom was the

responsibility of AVM Event Veranstaltungstechnik & Service GmbH, which already has years of experience with the SixDays offshoot in Bremen, north Germany. With more than 300 Cameo spotlights used in Berlin, the full-service provider relied on an extremely impressive lighting setup.

As the cyclists do their laps at top speeds of up to 80 km/h, what is needed above all is an equally bright and homogeneous illumination of the race track. AVM Event entrusted this task to a total of 116 Cameo ZENIT W600-D LED washlights, which, with their high-resolution dimming behaviour and barndoors, provided precise illumination limited exclusively to the race track.

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LIGHTING

“The ZENIT W600-D made all the difference,” confirmed

and B60 C LSD models provided flexible and discreet ambient

Jens Wiegandt, Owner of AVM Event. “The organiser spoke

lighting.

of the best performance ever! For us, the ZENIT W600-D is

AVM had a special task in mind for the Cameo OTOS H5

currently the best solution for sports and trade fair events on

Hybrid Moving Heads. Placed directly on the show stage,

the market.” In addition, the LED washlights ensured a lower

the IP65-capable hybrid moving heads did not just have to

hanging load and enabled the team to also use the spotlights

effectively stage the show acts; they also had to withstand

as blinders in the showlight design.

the champagne showers of the awards ceremonies! Thanks

In addition to the ZENIT W-600-D, AVM used 70 Cameo

to their jet water protection, however, the team was able to

OPUS H5 beam spot wash hybrid moving heads to project

clean the OTOS H5 with a jet of water after each “shower”

gobos on to the track and create effect beams throughout the

without any problems.

hall. The show lighting design was complemented by 24 OPUS

At AVM, the huge Cameo material pool is constantly in use –

S5 Spot-Moving-Heads, among other things, to stage artistic

from trade fair events in the cities of Hanover and Bremen, to

cyclists inside the hall. For further tasks inside and outside

conferences, concerts, and festivals. For Jens Wiegandt, this is

the hall, including the illumination of the taxi and shuttle

no reason to rest on his laurels: “You can never have enough

stops, ZENIT W600 LED washlights with RGBW were used. In

ZENIT W600s! And, I’m curious to see what will happen with

the VIP lounge of the Velodrom, the battery-operated B200

the OTOS Series in the future.”

MANUFACTURER: Cameo | WEBSITE: cameolight.com 064

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H O S P I T A L I T Y

T E C H N O L O G Y

EPOS & HOSPITALITY

MOTORPOINT ARENA NOTTINGHAM Nottingham, England Images: Kappture

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he Motorpoint Arena Nottingham is a world-class entertainment venue and a hub for live entertainment and ice hockey in the East Midlands, UK, attracting visitors from across the region and internationally.

Showcasing the biggest names in sport, music and comedy, the 10,000-seat arena is one of the most versatile and vibrant venues in the UK. The arena’s management team faced some challenges in relation to the customer experience at concourse outlets, so, in a bid to help improve the experience and stay ahead of the competition, the venue decided to implement the Kappture hospitality technology solution. The Kappture team worked closely with the arena and,

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EPOS & HOSPITALITY

in particular, Head of IT, Jonathan West, to understand the

data on customer numbers through heatmaps, allowing the

specific requirements and successfully delivered the solution

arena to anticipate bottlenecks and take steps to mitigate

to a tight deadline. The result was a smooth and seamless

them. The result is a smoother and more efficient customer

integration of the new system that has transformed the way

experience, with shorter waiting times and fewer frustrated

the arena operates and has brought many benefits to both the

customers.

customers and the management team.

“From start to finish, we have been really impressed

Jonathan explained further: “We had a very specific criteria

with the Kappture system, but, equally as important, the

for what we wanted to achieve with the upgrade – speed

quality of service. It’s refreshing to deal with a supplier so

of service and enhancing the visitor experience were major

knowledgeable but also approachable,” added Jonathan.

drivers in selecting Kappture.”

The implementation of the Kappture solution has also

One of the key benefits of the Kappture system is its stability.

brought benefits to the arena’s management team. The

The software is designed to be robust and reliable, and this

system provides real-time data and insights into the arena’s

has been reflected in the reduced downtime experienced by

operations, enabling the management team to make informed

the arena since its implementation. The system has been

decisions and respond quickly to any issues that may arise.

running smoothly, with minimal interruptions, allowing

The system is easy to use and provides real-time updates on

the arena to provide a seamless and uninterrupted customer

sales, revenue, and stock numbers, allowing the management

experience.

team to monitor performance and make adjustments where

Another significant benefit of the Kappture solution is the

necessary.

increased transaction speed. The Barclaycard integration has

The implementation of the Kappture hospitality technology

enabled the arena to process transactions much faster than

solution has been a huge success for Motorpoint Arena

before. This has helped to reduce the time customers spend

Nottingham. The system has helped to improve the customer

in queues and has allowed them to enjoy events with minimal

experience through reduced downtime, increased transaction

disruption. This has been especially beneficial during peak

speed, and minimised queues. The fast turnaround time and

times when the arena is busiest, and has been well received by

excellent customer support provided by the Kappture team

customers who appreciate the quick and efficient service.

has been instrumental in the success of the project - and the

In addition to the improved transaction speed, the Kappture

arena’s management team is confident that the benefits will

system has minimise queues. The system provides real-time

continue to be felt for many years to come.

MANUFACTURER: Kappture | WEBSITE: kappture.com

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Unmatched Performance Go live and access reliable internet from anywhere

Learn more: dejero.com/engo

BROADCAST

2023 RUGBY EUROPE CHAMPIONSHIP Belgium | Georgia | Germany | Netherlands Poland | Portugal | Romania | Spain Images: Dejero

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ejero Smart Blending Technology is being relied

tournament. The EnGos, which have glass-to-glass latency

upon for the international broadcasting of The

of 0.5 seconds, transmit live feeds from six cameras at each

Rugby European Championship 2023 by its

match.

channel partner and international production

Two Dejero WayPoint receivers are located at Quality’s

company, Quality, to produce, deliver and distribute high-

production hub in Madrid where final production including

value content to the event’s 11 rights holders.

graphics and commentary take place. The WayPoint devices

With Belgium, Germany, Netherlands, Poland, Romania and

reconstruct and decode the video feeds which are entered into

Spain now out of the running now for the Champion’s spot,

a matrix to be shared with the switcher and replay systems

the Final is scheduled for 19 March, 2023 between defending

.The packaged video is then uplinked to Quality’s satellite

Champions Georgia and remaining Portugal at Estadio

provider via another Dejero EnGo from where the rights

Nuevo Vivero, Badajoz, Spain. Quality will also be covering

holders downlink the final content to air.

the second and third, and sixth and seventh place finals in

“The Dejero EnGos remove any vulnerability to network

Bandajoz, as well as fourth and fifth place finals at NRCA

disruptions and outages that may occur on fiber, cable and

Stadium in Amsterdam, which also take place on 19 March.

DSL services by adding resilient wireless connectivity to the

Quality has carried six Dejero EnGo video mobile transmitters

stadiums’ fixed-line broadband,” explains Santiago José

across eight European cities to each stadium throughout the

Salgado, Executive Sports Producer, Quality.

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The EnGo uses Dejero’s Smart Blending Technology, which aggregates multiple network technologies, including cellular and fiber, from multiple network providers to create a virtual ‘network of networks’ that delivers enhanced reliability. For The Rugby European Championships six local SIM cards from diverse cellular network carriers were fitted into each EnGo, which feature global modems. This provides Quality with extra confidence in the transmission path to get live feeds back to its broadcast hub in Madrid for final production and distribution.

The packaged content is then uplinked via satellite for distribution to the rights holders and inserted into the ingest system for logging and clipping.

“Just two years ago, at the last Rugby European Championships, we used Outside Broadcast (OB) vans to cover key matches, which meant sending a full production crew on site and relying on satellite connectivity,” explains Salgado.

“Since then, we have developed a lean remote production model which means only the camera operators, a single producer and a single technician are required at the stadiums.

Dejero solutions have played a key role in the success of this remote model.”

“The new workflow with Dejero EnGo backpacks, not only rewards us with significant cost savings, but also greater flexibility to meet the growing broadcasting demands of different productions.”

Quality also uses the Dejero Control cloud-based management system to view device performance. It gives the operations team the flexibility to centrally manage their Dejero equipment on the field from any web browser, enabling them to view their workflow data, preview lowlatency feeds, and route live or recorded content to playout and online delivery workflows.

MANUFACTURER: Dejero | WEBSITE: dejero.com

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RIGGING & STRUCTURES

DUBAI WORLD CUP Dubai, UAE Images: Unusual Rigging & Engineering

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he Dubai World Cup is one of the most

a clear line of sight for the race caller from the main stand

prestigious horse races in the world and marks

to the far side of the track. This meant the screen had to be

the end of the Dubai racing season. To mark

held in a low position, during the day and only reveal its full

this occasion, each year the Dubai Racing

height just prior to the ceremony commencing. The UREteam

Club stage a lavish closing ceremony. This year Artists in

was instrumental in making this happen.”

Motion (AIM), were contracted to deliver a show that was

Work began on-site on March 6, following the conclusion of

to be bigger than any ceremony to date. The show included

the last race meeting, to install test and rehearse all systems.

Video, Lighting, Sound, 1900 UAV drones, aerobatic planes,

Nick Newey, Technical Director at AIM, commented: “URE

pyrotechnics, and Unusual Rigging & Engineering (URE) was

set out a schedule of work to achieve the

on hand to provide structure and rigging to support the main

timeline and they stayed right on track throughout the

screen and lighting fixtures.

build and dismantle. The original plan was to use a mesh

Liz Goodyer, Executive Producer, AIM said: “Our brief was to

projection surface. We’d used this on previous large events,

support a large LED screen with minimal visually intrusive

however we tested the system in situ at Meydan and the

rigging but maximum safety. AIM and our team have

amount of ambient light from the stadium and city surround

not worked directly with URE before, however we have

washed out the projection and did not achieve the desired

worked alongside them on many international events

effect. So, two months of planning and engineering was

and their reputation precedes them, so we were thrilled to be

thrown out and we had two weeks to completely re-design

able to work together on this project.”

the system.”

Liz continued: “With the audience onsite during the day, it

Liz added: “URE pulled out all the stops, worked overtime

was important to our client to not have the visual of intrusive

and weekends to take our revised plans and design and

structures around the racecourse. It was vital to maintain

engineer the system in record time, bringing great peace of

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mind to the AIM team.”

Richard Hoare, Project Manager, URE explained: “To meet this last minute brief, we had four engineers working full time to devise an 11th hour solution that would support, lift and lower an 18 tonne LED screen, measuring 20m x 13m, for the show’s content. We also used a significant amount of 52B truss as well as 18 Kinesys hoists and worked with the screen supplier to ensure the screen could be installed quickly and safely.”

AIM’s client, Dubai Racing Club has very high expectations, and was initially disappointed that the original ‘Hologram’ effect couldn’t be delivered. However they were very happy with the replacement technology which brought greater luminosity and a larger canvas to work with, to deliver this huge, bright and spectacular event.

Nick concluded: “We would like to thank Richard and the whole URE team for their fast & efficient work. They were an absolute pleasure to work with, they worked to the schedule and provided clear feedback on how the project was progressing and any challenges they had. They worked collaboratively with all contractors to ensure we had an efficient, happy and safe work site. We look forward to the opportunity to collaborate with the team again in the future.”

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29 EXTRA TIME

IN DETAIL 076 InCrowd | Cast 078 Meyer Sound | Panther

EVENT FOCUS 080 ADI | Venue Tech Roadshow

EXTRA TIME

INCROWD CAST Sport’s Most Technically Advanced & Innovative LED Display Software nCrowd Cast is a game-changing in-stadia LED display management software, currently powering over 130 stadiums and sports venues around the world including Wembley Stadium, Johan Cruyff Arena, Murrayfield, Stamford Bridge, Stadium Australia and Sydney Cricket Ground.

“Installing Incrowd Cast was the best decision I ever made at Chelsea, It’s user friendly, easy to understand and so powerful. It was light years ahead of anything else we had used for our pitch side advertising boards.” - Chris Frazer, Former AV Manager at Chelsea FC. Alongside standard game time output, Cast has also powered several fan activations for sports and brands around the world, including The Hundred, Indian Premier League, Australian Football League & Kennedy, SA20, and Netball Australia & Origin. Activations include decibel meters, live fan voting, social feeds, live statistics, live betting odds, live video and much more.

Mobile technology and fan activations can be integrated with screen control and graphics, engaging viewers and enabling brand partners to become an organic part of the story.

I

INDUSTRY LEADING TECHNOLOGY The Cast Software allows for scalable and reliable LED display content, making stadium operators tasks easier whilst also enhancing the value for fans in the venue or watching at home.

Standout features include: Templates and auto-generated playlists; Module chains and zone creation with Independent zone playback; Sun shader technology; Hot keys; Network and MIDI triggers; Live redundancy; Audit logs with online management platform integrations; UEFA compliance; and Activation blocks.

Built to solve common issues faced with other display technology, Cast is focussed on ease of use and hyper efficiency with tools like automatic resizing of content to fit the given area and optional tiling of content where appropriate.

Cast also allows any video format to be played natively, without transcoding - allowing file changes to be made up to and even during the match without switching programs.

FLEXIBILITY SOLUTIONS The flexibility of Cast makes it a market-leading solution. Users have the ability to create and edit playlists during matches in addition to flexible zones and module chain systems, perfect for the fast pace and high brand value of sports and the necessity to cater for precise needs of sponsorship partners and the spectacular moments of the game.

Cast is able to adapt to any size LED screen and any number of LED modules; perfect for stadiums with varying perimeter lengths, proven by Casts performance across several high profile cricket and football stadiums around the world.

“It usually takes us two days to produce a full match day agenda using our old software. Now it takes us just one hour.”- Kevin Dikken, Faber Audio Visual.

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UNCOMPROMISED USABILITY With such advanced technology, Cast does not compromise on the user experience, with highly accessible and easy user interfaces. Cast is also available in a downloadable demo version for transparency pre-purchase and InCrowd’s Training Team are available to deliver live demos and post purchase training.

Importantly, Cast does not require access to the internet to be used, especially useful for those stadiums with inconsistent Wi-Fi. KEY CASE STUDY - TLA WORLDWIDE InCrowd has been the LED and Fan Activation software provider to Australian company TLA Worldwide and their sporting partners since 2019, with Cast software powering 13 venues across 800+ events and 4 kilometres of LED perimeters and mid tiers for the AFL, NRL, Rugby Union, Netball and Cricket.

Pre-Cast, with brand and fan requirements evolving fast, TLA had limited ways to deliver fan engagement campaigns that would bring the LED and stadium screens to life. On the technical side, TLA operators would typically have to use an entirely different system for each screen at the stadium, and struggled with lengthy playlist creation timelines causing operational frictions and inefficiency. TLA needed a solution that would significantly improve efficiency whilst delivering innovative and easy-to-implement fan activations for inside the stadium.

InCrowd updated all of TLA Sport’s LED systems with the industry-leading InCrowd Cast software, immediately solving all their challenges.

TLA are now able to power multiple screens all from one system and create an event playlist in less than 1 hour. TLA have also started to utilise the software’s ability to ingest live data feeds to improve the fan experience in venues and offer new activations for partners, including live voting, social media feeds and live stats.

In 2022, InCrowd and TLA worked together to bring creatives to life for AFL sponsor and watch retailer Kennedy creatives. Using an integration with InCrowd’s live stats Block, InCrowd Cast was able to automatically display the live clock on the LEDs 5 minutes before the end of each quarter and deliver Kennedy’s message in a new and innovative way.

“The InCrowd Cast software is incredibly efficient in helping our team upload and manage content across multiple platforms, which is having a significant impact in reducing our costs and improving our revenue opportunities. Their ability to update software quickly and evolve with LED technology is a major benefit.” Vanessa Boatwright – General Manager, Sport.

For more information or to request a demo, e-mail: cast.demo@incrowdsports.com

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MEYER SOUND PANTHER

he PANTHER large-format linear line array loudspeaker represents a breakthrough in highpower sound systems, with over 150 dB output in a cabinet weighing only 150 lb (68 kg). PANTHER is powerful enough for festivals, yet agile enough to support arenas, theatres, and even corporate AV. A Class D amplifier and new driver technologies means significantly less weight and a 20% reduction in power draw compared to earlier technologies, and its small size and light weight means more economical transport and storage.

The PANTHER family has three coverage patterns — 80°, 95°, and 110° horizontal patterns — to let designers tailor coverage

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for a range of applications, and the low-frequency response is optimised to pair with the entire Meyer Sound LFC line. It also integrates with Meyer Sound’s system design, deployment, and management applications, including MAPP 3D, Galileo GALAXY, Compass, Compass Go, and Spacemap Go spatial sound design and mixing tool. PANTHER is self-powered, so there’s no calibrating crossovers, and no struggling with amplifier racks, long cable runs, or extra accessories, and is ready to grow within a digital infrastructure. Inputs include a Milan-certified, AVB endpoint for next-gen audio-over-IP solutions, bringing a digital signal path directly to the cabinet.

You asked for a lighter, more powerful line array.

How about

You know what you want in a line array. And now, we’re giving you more than you ever thought possible. Introducing PANTHER. Over 150 decibels at only 68 kilograms and 97 centimeters wide.

Exactly what you asked for—turned up a notch.

You spoke. We listened. And then we went wild.

ADI | VENUE TECH ROADSHOW ADI BRING LATEST SOLUTIONS DIRECT TO VENUES igital Stadium Specialists, ADI, has kicked off its latest Venue Tech Roadshow with a tour of Holland’s leading clubs to deliver live, interactive demonstrations of stadium technology to commercial, operational and marketing teams.

The Roadshow is built around ADI’s new iCONIC X expandable unit, which creates a high-tech, fully self-contained environment combining hands-on demonstrations with networking and discussion.

All ADI require is a piece of space on the carpark and 90 minutes of time; their custom-designed iCONIC X pod is fully self-sufficient and able to be setup within an hour of arriving on site. What follows is an open 90 minute session, focusing on how the latest stadium technology platforms can help improve fan engagement whilst increasing the commercial value of venue platforms.

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Why a Roadshow?

The Venue Tech Roadshow is part of a three-year project to take technology to existing and potential customers across Europe, explained ADI CEO and Founder, Geraint Williams: “One of the key actions we took from COVID has been the understanding that people are travelling less, whether that’s in their everyday commute to work or further afield for specific meetings.

Alongside that, we’re seeing that – as technology becomes more complex and integrated – the stakeholders involved in decisions around technology and venues are increasing.

“We devised the iCONIC X – and the Roadshow – because we recognised this shift in the market and we see it as an innovative way to expand our business and to create open conversations that involve all the key stakeholders at any federation, club or venue.

“We’re not there to dictate to clubs what we think they need – we want to hear about their problems and challenges and see

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how our solutions and expertise can help them to solve some of these. We’ve worked in this space for over thirty years and this is the methodology we’ve always followed; the purpose of the Tech Tour is to simplify and remove obstacles from the process.”

What’s on Show?

The over-riding messages of the Roadshow are around innovation and integration. Increasingly, the need for standardisation and scalability – both of content and technical operation – is becoming more important as clubs broaden their digital platforms. ADI’s Roadshow demonstrates how the company can help to provide a truly holistic service that incorporates not only hardware, but content, delivery and ongoing support. Importantly these are solutions that are scalable to suit the needs of modern venues not just today, but in the future.

One of the most popular aspects of the tour has been for ADI to put their technology right in the hands of their customers. In particular, their latest MT LED tile is a slimline and lightweight product that has proven a huge success for the company. “MT is a game-changing product that dramatically broadens the locations where LED can be installed, whilst revolutionising how the product is serviced,” continued Williams. “It’s not until you get the product into people’s hands that they appreciate the intelligence and innovation within the design and just how slim it actually is.”

MT is also the driver behind ADI’s digiBOARD digital perimeter systems which are also on display. The company’s latest generation of products are available across a vast range of

heights, with UEFA certification also an option.

Alongside these LED-based solutions, clubs will also get their chance to view ADI’s latest IPTV offering as well as try out some of their interactive solutions, aimed at driving greater fan engagement whilst helping to amplify the matchday experience beyond the confines of the stadium.

It’s this approach that has cemented ADI as the UK’s digital stadium supplier of choice, but the Roadshow isn’t just about the technology, it’s about solutions to deliver greater engagement for fans, and improved commercial models to help clubs to attract more partners and leverage greater value from their digital stadium infrastructure.

Claire Fitzgerald-Firth, ADI’s Head of Engagement & Client Services summarised the ambition: “ADI are the most established name in stadium digital engagement in the UK and the tour offers a chance for us to introduce clubs across Europe to the awardwinning solutions that have transformed the matchday experience over the past 30 years. Through our practical workshops, we can demonstrate the latest digital platforms and innovative commercial models that help clubs broaden their portfolio of commercial partners, maximise value from assets and create lasting conversations with fans.”

Book Your Tour Slot The Venue Tech Roadshow will be touring across Europe throughout 2023. To find out more and register your interest, please visit https://roadshow.adi.tv/ or email roadshow@adi.tv

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BRINGING NEXT GENERATION VENUE TECHNOLOGY, DIRECT TO YOUR STADIUM!

WHAT TO EXPECT?

We’re showcasing the latest integrated stadium digital solutions. We’re bringing live, interactive demonstrations featuring amazing tech, incredible digital screens and signage, and awesome content.

All fully self-contained in ADI’s iCONIC X POD that we’ll setup in your venue carpark in under an hour.

WANT THE ROADSHOW TO VISIT YOUR VENUE? REGISTER NOW AT ROADSHOW.ADI.TV

HOW LONG DOES IT LAST?

We’re asking for around 90 minutes of your time – that’s less than a match of football.

WHO SHOULD ATTEND?

Typically the target audience is: Head of Commercial | Head of Partnerships | Head of Operations | Head of Facilities | Head of IT | Head of Design and Content | CEO / CCO / CFO

BOLERO THE STATE-OF-THE-ART WIRELESS INTERCOM SYSTEM FOR SAFE AND EFFICIENT SPORTS PRODUCTION

ENHANCED WORKFLOWS FOR SORTS PRODUCTION • Operates standalone or integrated in digital matrix intercom systems • Up to 250 Beltpacks and 100 Antennas in a network • 10 beltpacks per antenna • Patented ADR (Advanced DECT receiver) technology for an unrivaled radio performance • Fast and Secure NFC (Near Field Communication) and OTA (Over The Air) beltpack registration • Bluetooth support for bluetooth headset or smartphone connectivity • Standard AES67 IP network, CAT5 daisy chain or redundant ring antenna network • Redundant antenna power

www.riedel.net

More than a match.

A great lineup of sound reinforcement technology. A customized look. The renowned d&b Workflow. All this and world-class support from start to finish. d&b Stadium solutions are designed so that everyone wins. (We like to play fair.)

Discover more: dbaudio.com/sports-venues

The art of creative engineering.

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06.10.2022 13:26:10