THE RISING IMPACT OF DRONES

With large-scale drone shows becoming increasingly sophisticated and popular, TPi tracks down some of those at the forefront of this rapidly developing sector to learn about the latest developments in the world of drones and how they could impact the live events industry.

Although they are still a relatively new phenomenon in the lineage of live events, drone shows have appeared on their fair share of live productions over the years, including a few that have featured in our pages. In fact, way back in 2016, my first ever TPi cover story was Muse’s Drones tour, which saw giant spheres flown around an arena by micro drones flying over the crowd. In the years since, companies such as Verity made a major impact on the market, collaborating with bands including Metallica, where a swarm of drones flew around the band.

As impressive as these two examples were, they are still a far cry from the largescale drone shows that we’ve seen at events including Coachella, the Coronation Concert and the Eurovision Song Contest in recent months. These spectacular aerial displays utilise 3D software in tandem with drones fitted with programmable LEDs, turning the open sky into a blank canvas for a multitude of dynamic patterns and images. When it comes to creativity with this new technology, the sky is literally the limit.

At TPi HQ, much of the development of drone technology has been covered extensively in TPiMEA, with the Middle East being one of the forerunners in adding this element within large-scale shows. However, with numerous companies in Europe, UK and America investing heavily in the technology, it seems like only a matter of time until drones become an ever-present part of large-scale productions all over the world.

Those specialising in the world of drones often draw parallels between the emergence of drones and the introduction of the moving light. “When Vari-Lite brought out the first moving head, it came out onto a show as a whole package and was more of a special effect than part of the lighting rig,” explained Marco Niedermeier of AO Multimedia & Drones – a company that has made tremendous strides within the Middle East market when it comes to drone shows after getting its start as supplier of large searchlights including the enormous FALCON fixture.

The Vari-Lite comparison is interesting as drone technology seems to be following a similar trajectory, with drone shows requiring a specialist team on-site and during the creative design process.

“There are certain companies working within the drone space that are effectively manufacturers providing productions with equipment. However, I believe to see real progression within the sector, we need to collaborate closely with the events industry,” mused Niedermeier, explaining why AO also has a side of its business that focusses solely on the design element of the show.

Niedermeier is not the only one in this space that sees the potential in the drone market. Enter Nils Thorjussen, CEO of Verge Aero. Based out of Austin, Texas, Thorjussen is one of the originators of the Wholehog lighting console – which aimed to give lighting designers the power to efficiently control a full lighting rig – a mentality he is now bringing into the drone world.

“The goal of the Wholehog with its effects engine was that you could press a button and quickly programme moving lights to create effects that previously might have taken hours,” he recalled. “It’s a similar problem with drones. With Verge Aero, our aim with the integrated hardware and software package is to streamline the user experience so designers can focus on bring creative and have the software handle everything else for them.”

Thorjussen said that one of the early roadblocks they had faced as a company was designers seeing the drone as a one-off gag rather than something that could elevate an entire performance. “It’s a frustrating opinion,” he admitted. “It’s almost like getting a moving light, using it for one show then deciding you’ll go back to par cans. However, that perception is starting to change, and drones are without a doubt here to stay.”

It’s important to note that there is a real division between indoor and outdoor drone shows. “You have to see them as two different industries as they are two very different types of technology,” explained Thorjussen.

“For an indoor show, you have several different safety considerations as you are flying so close to people and there is no GPS under a roof, so an alternative positioning system must be used. Outdoor shows, meanwhile, bring regulatory concerns such as the FAA in America, which controls airspace.”

There is no way of talking about drones without touching upon how regulations affect those working in the field. “There were certainly fewer regulations in the Middle East compared to other regions,” admitted Niedermeier, while explaining why the region, along with China, became a hotbed for development in drone shows. “There has been a lot of education in multiple territories when it came to drone legislation. For example, when we first started speaking to the authorities in Dubai, we had to explain that when it came to a 100-drone show, each craft wasn’t flown manually by a pilot.”