TPiMEA #046 February/March 2024

Metallica at MDLBEAST Soundstorm UAE Union Day

Foo Fighters

RSIFF

New Year’s Eve 2024

The UAE’s sustainability story is told to the backdrop of COP28

We catch up with Lighting Designer, Dan Hadley at the Yasalam After-Race Concerts

A-list movie stars descend on Jeddah for the Red Sea International Film Festival

The productions finding bigger, bolder and more spectacular ways to ring in the New Year

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adamson.ai

INTRODUCTION

Welcome to TPiMEA

Peter Iantorno Editorial Director

Throughout my time at TPiMEA, I’ve always tried to avoid letting personal taste and preconceived notions of a band or musician cloud my opinion or influence which shows we cover, and this ethos has worked out well, often leading to a new appreciation of artists and – more importantly – their crew. However, occasionally the stars will align and I get the chance to report on a band that I would happily pay to watch – and it just so happened that lightning struck twice in this issue, as we bring you a double-header of Metallica and Foo Fighters.

Our cover story comes from MDLBEAST Soundstorm, where heavy metal icons Metallica played their first ever Saudi Arabia show in a landmark occasion for the country (page 46). Just a few weeks prior to Soundstorm, I had the pleasure of attending the Yasalam After-Race Concerts for the Abu Dhabi Formula One Grand Prix, which were headlined by Foo Fighters. Before the show, the Foos’ Lighting Designer Dan Hadley spared some time to chat about his design inspirations and look ahead to the band’s 2024 stadium run (page 82).

This issue also features an in-depth exploration of the 52nd UAE Union Day celebrations, which took place to the backdrop of the country hosting COP28. The national holiday is always an important one for the UAE, but with sustainability so prominent in the messaging and the methods behind the event, this year’s celebrations took on a global significance. Read our detailed report on page 54.

Elsewhere in the issue, we report from the red carpet as A-list film stars descend on Jeddah for the Red Sea International Film Festival (page 72), we speak to WHITEVoid’s Christopher Bauder about his stunning DIALOGUE installation at Noor Riyadh Festival (page 28), we round up the best of the UAE’s New Year’s Eve celebrations (page 34), and much, much more.

Enjoy the issue.

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Contents Subscribe Online

Cover Story

46 28 82 www.tpimeamagazine.com

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First Look 08 Tim Jacobs

The Chief Operating Officer of HQWS sits down with TPiMEA for an in-depth interview, where he discusses the company’s recent brand transformation, shares his approach to pitching and speculates on the future direction of the business.

Event Focus 14 World Tennis League 2023 SLS Production supplies a turnkey solution for Season Two of the WTL in Abu Dhabi.

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Rocking the Daisies

Bad Weather Productions continues its decade-long involvement with the event to kick off South Africa’s festival season.

22 The Blue Line Odyssey

Immersive experiences, drones and fireworks combine to celebrate the landmark development of the Dubai Metro Blue Line.

28 Noor Riyadh: DIALOGUE

An awe-inspiring visual feast of lighting and lasers – made all the more impressive by a spectacular drone and fireworks show to celebrate the announcement of Expo 2030 Riyadh.

34 New Year's Eve 2024

A round-up of some of the biggest and most spectacular productions, as the UAE continues to push the envelope for New Year’s Eve celebrations.

Production Profile 46 Metallica

The heavy metal icons appear in Saudi Arabia for the first time, with a statement performance on the new BIG BEAST stage at MDLBEAST Soundstorm.

54 52nd UAE Union Day

Editorial Director Peter Iantorno Tel: +44 (0)161 476 8360 Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk Contributing Editor Stew Hume Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk Contributing Assistant Editor Jacob Waite Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk

Account Manager Matilda Matthews Mobile: +44 (0)7413 555978 e-mail: m.matthews@mondiale.co.uk Account Manager Philip Tucker Mobile: +44 (0)7522 130473 e-mail: p.tucker@mondiale.co.uk Account Manager Sheelan Shah Mobile: +44 (0)7401 690960 e-mail: s.shah@mondiale.co.uk Digital Content Manager James Robertson Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk Marketing and Event Manager Alice Clarke Mobile: +44 (0)7752 392465 e-mail: a.clarke@mondiale.co.uk

72 Red Sea Film Festival

Mondiale Group Chairman Damian Walsh

We catch up with the band's long-serving Lighting Designer, Dan Hadley, at the Yasalam After-Race Concerts in Abu Dhabi.

In Profile 86 JAM Training

JAM Event Services introduces a new training offering with an extensive range of courses delivered in both English and Arabic.

88 High and Wired KSA

TECS Event Services launches High and Wired KSA, serving adrenaline junkies in the Kingdom.

90 Regional Round-up

The latest news from the Middle East and Africa.

SERIES

Commercial Director Fran Begaj Mobile: +44 (0)7852 336728 e-mail: f.begaj@mondiale.co.uk

Chief Executive Justin Gawne Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk

Interview 82 Foo Fighters

CLUSTER

Editorial Assistant Alicia Pollitt Mobile: +44 (0)7508 441986 e-mail: a.pollitt@mondiale.co.uk

The UAE’s sustainability story is told in spectacular fashion, with a ground-breaking production that leaves a legacy for the country’s events industry.

Featuring 130 films from 77 countries, over 10 days, Red Sea Film Festival welcomes the world to Saudi Arabia to celebrate the best of cinema.

THE

Graphic Design & Production Dan Seaton: d.seaton@mondiale.co.uk Jez Reid: j.reid@mondiale.co.uk Accounts Lynette Levi / Sarah Miller: ar@mondiale.co.uk Cover Photography Metallica at MDLBEAST Soundstorm

by MDLBEAST Printed By Buxton Press www.buxpress.co.uk www.tpimeamagazine.com www.tpimeaawards.com www.tpimagazine.com www.tpiawards.com @TPiMEA_Magazine /TPiMEAMagazine @tpimea_magazine /company/tpimeamagazine

www.roxxlight.com ROXX GmbH Cologne/Germany

FIRST LOOK

Tim Jacobs, Chief Operating Officer, HQWS With more than a quarter of a century immersed in the global events landscape, Tim Jacobs has witnessed first-hand the power of brand evolution.

Here, the HQWS COO discusses the company’s recent brand transformation, shares his approach to pitching and speculates on the future of the business.

Established in the UAE in 1996 by Katie Veira, Managing Partner, HQWS has built a stellar reputation over the best part of three decades as a world-class creative house that offers much more than your run-of-the-mill events agency. However, despite the company’s storied legacy, enviable client list and extensive portfolio of high-profile events, HQWS is not a brand that is splashed all over social media. “We’re a very quiet company. You won’t find a great deal about us online and that’s done for a reason,” explained Chief Operating Officer, Tim Jacobs. “We do a lot of work for governments and high-profile clients, and our work is essentially to make them look good – not to be leveraged for our own self-promotion.”

With over 25 years of experience across all facets of the live events industry including more than 15 spent in the Middle East, Jacobs has presided over spectacular growth for HQWS, helping to maintain a strong upward trajectory for the company regardless of the various socio-economic challenges that provide hurdles for success.

As HQWS marks a new chapter with the launch of a revitalised website and an expanded international footprint, Jacobs sat down with TPiMEA for an in-depth interview, looking back on a few of his favourite memories with the company, sharing his management ethos, and providing some key insights on the most likely emerging markets over the next decade and beyond.

Tell us about your history in the region and with HQWS… I came to the Middle East from Australia in 2008 with Action Impact before moving across to HQWS in 2010. I spent three years working for HQWS before leaving to start up on my Middle East

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own, working predominantly as a consultant for most of the senior government offices in the region. Around halfway through 2018, I was asked to come back to HQWS as Chief Operating Officer.

Since I rejoined the company, we’ve transitioned from an events agency into the strategic communications world. Of course, we still produce events – and we do that very well – but a lot of our work is on brand positioning, media craft and using data to find the right vehicles to carry our clients’ messages through in the best way possible.

How did the company change and adapt following the COVID-19 pandemic?

Our approach to the COVID-19 pandemic was to not let anybody go – we even kept all our permalancers employed.

We’re still fully remote, and I don’t think we will ever go back to full-time in the office. What we found was that we’re a hell of a lot more efficient working remotely and our team get a much better work-life balance.

Remote working also removes the geo-lock of an office. I’ve now got creative directors in Malaysia, Germany, Guatemala, Australia and the UK. We’ve perfected the 24hour creative and production cycle, which has increased our throughput exponentially.

Our output has also been aided in recent years by AI – a rapidly developing technology that we have embraced massively. It’s extremely useful as both a creation and labour-saving tool. It’s really cool for augmenting designs and helping with the creative side, while it’s also incredibly useful for churning out huge amounts of laborious work that would previously have taken up lots of time for my team. All

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FIRST LOOK

our staff use various forms of AI and we’re happy to pay for it, because it’s increasing efficiency to levels that would have been considered impossible just a couple of years ago.

AI is also a bit of a leveller, because it allows a small agency to compete against a company like ours with 12 creative directors and a creative department of 50-plus. However, if it speeds up the process for my team and makes their lives easier, bring it on.

What was behind the brand refresh?

Our old website was very stark, formal, and typical of a company that works with government clients. However, as we advance and develop into the forward-facing company we are today that embraces the latest technology and is also an expert in media positioning, our website should reflect that. The rebrand is a play on our tone and how we work and truly reflects what we do.

Another thing the rebrand does is help illustrate where we differ from BalichWonderStudio (BWS – The worldwide renewed live entertainment group). We have been part of BWS Group since 2016 and we share the same values and long-term mission, however in markets like Saudi Arabia for example, we’re often asked what the difference is between the two companies. While we’re pleased to be part of the Group, we are completely autonomous and in fact regularly compete with BWS with totally different approaches.

Our Group also joined forces with Banijay Group – the largest independent television and multimedia content Middle East

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creator in the world – and that has given us another interesting string to our bow. I can’t say too much right now, but you will start seeing many more wonderful things come in the region. We now have content on a global level, which makes us unique with the vehicles and the channels that we can push content onto.

What has been the most memorable project you’ve worked on for HQWS? One of the big milestones was the visit of Pope Francis to Abu Dhabi in 2019. It was a 180,000-person event with masses of logistics including having to flip Zayed Sports City Stadium, which was hosting the AFC Asian Cup just three days later.

We were briefed just four weeks before the Pope stepped on stage. Anywhere else in the world, a fourweek turnaround for that kind of project would send most companies running for the hills, but we don’t mind going a million miles an hour with our hair on fire. These are the projects you remember and the ones we have the most fun working on.

Do you crave more lead time?

Funnily enough, I don’t. The more lead time you have, the more scope there is for changes. On the flip side, in really short time frames, you must be on mark – you must hit it and hit it right first time. We live on the crazy end. Where most companies say ‘no’, we’re probably the one that can

FIRST LOOK

“We look at projects not in terms of how much money we can make, but how much value we can bring.

If we can bring enough value to a project, the money becomes irrelevant.

For us, it’s all about building clients.”

Tim Jacobs, HQWS

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make it happen. We look at projects not in terms of how much money we can make, but how much value we can bring. If we can bring enough value to a project, the money becomes irrelevant.

For us, it’s all about building clients. It’s never about a singular project. Of course, we do some big projects with some big budgets, but we’ve taken on many smaller projects that have led to bigger things. If you’ve got happy clients, they come back and give you bigger issues to deal with and more interesting problems to solve.

What kind of people do you like on your team?

We have an eclectic group of people. It’s in our presentations – we’re a group of misfits, but our total sum is greater than any individual. A can-do attitude is a prerequisite for working with HQWS. We run very horizontally from a management perspective. In most creative companies, the creative directors run the projects, and everybody basically does what they say. That’s not how we operate at all – whoever has the best knowledge of the client or relationship with the client is the person who runs a project.

That’s not to say that creative directors aren’t important – they are. I’ve got 12 creative directors and they’re all different. That’s done for a reason; it allows me to respond differently depending on the needs of the client. Plus, creatives aren’t machines; they get tired and being able to lighten the load, share the work around and even fuse together the ideas of two creative directors is important.

The thing about creative-led projects is that they are a singular interpretation. Whether that is right, wrong, or indifferent is irrelevant; creativity is in the eye of the beholder, and even if you’ve got the greatest creatives on the planet, if the client doesn’t like it, you’re in trouble!

Our industry can be a stressful environment – especially in tight timeframes we deal with – so, it’s important to make sure that we’re having as much fun as possible in the process. That runs through all the teams; even though we do some serious work, we’re not corporate in our approach.

How do you select your suppliers?

We’ve got great local suppliers as well as a good international network. This is a game of trust, and our core suppliers are more like partners – they are part of the fabric and helped build HQ from what it was to what it is today. We look after our trusted partners; it’s never been the best price wins with me – it’s who can provide the best value.

If you run on a price point, you generally end up not being able to deliver to the standard you promise and are known for, which inevitably damages your brand. Ultimately, clients engage us to make them look good and our suppliers play an important role in that.

What’s your approach to pitching?

We need to pitch, win, and deliver all at the same time. We did that by becoming hyper-selective about what we pitch on. We’ve been on calls before as one of 40 agencies. I’ve been client-side and I understand the need to cast a wide net, but that means 39 agencies are going to waste their time. Most agencies are happy with a 30% win rate; ours runs around 65%, and I’m still not happy with that. Anything we pitch on, we put everything into it.

People often get stuck in competitor analysis, but I believe that our main competition is ourselves. We run our own race, and we don’t care who we pitch against. There are plenty of others working in the same space and doing it brilliantly, and I have a great respect for the rest of the industry, but I don’t feel the need to look across at what they’re doing.

Where do you see the biggest opportunities for growth in the future?

We are at the service of our clients in the Middle East and we see opportunities for companies like HQWS to support our clients in delivering the ambitious plans in place for the region and internationally. We recently opened a company in Australia targeting the APAC region – we see several largescale events in the region where we would like to be present.

There’s a lot of focus from the Middle East on Asia as well as Africa, and Africa is probably my next port of call.

We’re looking to put down a footprint in Africa, and I’ve been going backwards and forwards there for the past four years, scoping and looking at markets.

Asia is a more mature market with a lot more big players, but they aren’t used to the short time frames we have in the Middle East, so there could be a play in moving the Middle East out into the Asian markets.

Our strategy is to satellite out and keep the central creative hub in the Middle East. This will allow us to cast our net wider for different projects. They might not be the same value as we would find in the Middle East now, but it’s an investment into the future, a diversification of risk and diversification of client bases. The utilisation of resources is handy, and it helps us to build a 24-hour cycle, increasing our capacity massively.

The longevity is there to look at other markets as an interesting opportunity for the next 20 years and beyond – longer than I’ll be around probably! The day I deliver a perfect event, write the perfect time schedule for it and it all goes exactly to plan is the day I’ll retire. I’ve been doing this for more than 25 years and I haven’t managed it yet…

Photos: HQWS www.hqws.com 13

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EVENT FOCUS

World Tennis League 2023 SLS Production supplies a turnkey technical solution for Season Two of the World Tennis League in Abu Dhabi. Alicia Pollitt reports…

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Hosted at Abu Dhabi’s Etihad Arena, World Tennis League 2023 saw a stellar line-up of 16 tennis stars competing on the court as well as a collection of artists taking the stage to provide post-match entertainment, including 50 Cent, Akon, Ne-Yo, and Arrested Development.

Wizcraft Global tasked SLS Production Middle East with providing the bulk of the equipment for the event, with the SLS team led

by Head of Project Management, Paurasp J Waghchhipawalla. “I am profoundly grateful for the collective efforts that brought this marvellous production to life,” he told TPiMEA. With the event taking place over four days, schedules for crew were of the utmost importance, with the teams’ shifts coordinated so that there was a changeover following each concert for the next day, ensuring that the teams were refreshed.

SLS Production’s Head of Lighting Praveen Jayakumar utilised a plethora of fixtures on the lighting rig, including Martin Professional ERA 800 Performance as well as Robe MegaPointe and Tetra1 – all fired from an MA Lighting grandMA2 console and networked through Luminex GigaCore 10.

“The seamless execution of this production stands as a testament to the meticulous planning, unwavering dedication, and exemplary Middle East

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teamwork demonstrated by each member of our team,” said Jayakumar. “Crafting the visual ambience for each moment required attention to detail that collectively transformed our vision into a visually stunning reality for each concert.”

At the helm of the video department was Marvin Dela Cruz, who discussed the project’s logistical challenges.

“This setup seemed to be impossible due to time constraints and the challenge of the Kinesys screen. However, we got an early entrance of six hours before the event, which was a blessing,” commented Cruz. “The expertise of our automation partner, Motor Stage Automation, came into play, especially in regard to the screen, and the show ran smoothly without hiccups.”

Cruz looked after a total of 500 sq m of LED screens on both the matches and the concerts afterwards, with 400 sq m being the INFiLED Xmk2 and the remainder made up of Gloshine VA+ 3.9/7.8mm transparent LED screen for the Kinesys cubes used for 50 Cent. NovaStar H2 processors were used for control, paired with CVT4Ks converters.

The video playout system consisted of Analog Way Aquilon RS3, as well as Disguise gx 3 and Resolume Arena media servers.

Sounding out the venue for the artists was Head of Department Suresh Jayakumar,

who utilised an L-Acoustics K2 PA, with KS28 subwoofers and X15 HiQs, controlled by two DiGiCo Quantum 338 consoles.

Meanwhile, a Shure Axient Digital Wireless system and PSM100 IEMs combined to provide a wireless monitoring solution.

“The successful outcome reflects not only technical prowess but also the harmonious collaboration among the audio team and our partners,” Jayakumar commented. “Leading this crew has been a blast. I’m fuelled by how we all came together to make this event sound as awesome as it did.”

Making the magic happen for the event was the rigging team, headed by Kevin Shyamprasad, who deployed EuroTruss trussing, ChainMaster hoists and a Kinesys DigiHoist controller in the rigging package.

“A visual extravaganza is never a plug-andplay game, but it’s the amount of effort that these highly skilled men had to shed to meet their target and to give an amazing output,” he commented, reflecting on the achievement.

The World Tennis League 2023 combined top-level international sport with internationally acclaimed artists, providing thrilling entertainment each evening.

Photos: SLS Production www.slspro.net

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EVENT FOCUS

Rocking the Daisies Bad Weather Productions continues its decade-long involvement with the event to kick off South Africa’s festival season.

Marking the beginning of South Africa’s festival season, Rocking the Daisies welcomed a range of big-name international artists from a diverse spectrum of genres across three days at Cloof Wine Estate, near Cape Town, followed by one day at SuperSport Park, Johannesburg.

With a 10-year history of involvement in the Rocking the Daisies – including pioneering the first hip-hop stage, TwosUP, in 2016, diversifying the festival’s music offerings – Bad Weather Productions has played a major role in the development of the festival. The company was involved once again this year, leading the production design, and handling the creative technical execution across every arena.

“It’s been an incredible journey working with Rocking the Daisies over the past 10 years, and watching it develop into one of the most diverse festivals in the country,” commented Jonathan Bandli, Co-Founder and Creative Director of Africa

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Bad Weather Productions. “This year, we were entrusted with handling the AV production for four stages in Cape Town and one stage in Johannesburg, making it one of our most complex projects to date.”

The resource challenges of working in Cape Town during the height of the festival season were overcome by strategically selecting specialised rental and events companies to provide equipment and support for each stage. Bad Weather Productions leveraged its relationships to handpick a team of up to 60 crew members, from lighting to FOH operators, with teams assigned according to specialities.

“With headliner acts such as BRIT Award winner Stormzy, singer-songwriter, Greentea Peng, American rapper Denzel Curry, and influential pop band, The Vamps, audience expectations were exceptionally high,” explained Bandli. “To ensure optimal audio performance

and consistency, the festival opted for d&b audiotechnik systems across all stages.”

Bandli was pleased with the performance of the chosen audio systems, which proved to be reliable and efficient. “d&b just works, every time,” he commented. “The lightweight form and versatility of both the V and Q Series systems allowed us to overcome obstacles, such as flying the PA on a cantilever in high winds on the main stage or dealing with weight restrictions in the dome structure. Deploying loudspeakers in this way would not have been possible with most other brands.”

A total of five stages across the two events required powerful and reliable sound systems.

In both Johannesburg and Cape Town, the main stage was equipped with arrays of 16 J-Series mid-high loudspeakers per side, with flown J-SUBs supplemented by ground-stacked B-Series subwoofers. On Cape Town’s Maybelline

EVENT FOCUS

Stations stage, a Q-Series system was chosen as the main PA, given its versatile form factor, while the Savannah Beach Club, dedicated to showcasing local artists, opted for V-Series line arrays and V-SUBs, supported by J-INFRA large format subwoofers. A V-Series system was also deployed on the Heineken House stage.

On the main stage, Blackmagic Design solutions were chosen for capturing the event for IMAG. SAE Institute, one of South Africa’s leading creative media universities, partnered with Bad Weather and Blackmagic to allow its students to work as interns at Rocking the Daisies. “These internships are truly invaluable, with students working alongside leading industry professionals and A-list artists,” Bandli commented. “We had interns handling all of the cameras and with Blackmagic Design equipment, everything ran smoothly. It’s the ideal technology for dynamic live environments such as multi-stage festivals.”

The choice of energy-efficient d&b audiotechnik products helped both the Bad Weather Productions and Rocking the Daisies teams fulfil their commitment to sustainability.

“Power consumption and truck footprint were significantly lowered with d&b due to the reduced weight of the loudspeakers. This saves costs on transport and diesel,” commented Bandli.

“Ensuring the stages were as efficient as possible was a priority.”

Bad Weather Productions also highlighted the consultation provided by South African professional audio supplier, Stage Audio Works, which supplied many of the companies involved in the production. “We switched the structure of the main stage to a Stageco dome this year, and therefore needed to change the position of the PA system,” said Bandli. “Having the Stage Audio Works team there to consult around the system design and give us feedback was critical to the show’s success. I feel empowered by the support received from the Stage Audio Works team.”

With another festival in the bag for Bad Weather Productions, Bandli reflected on this year’s event. “As local audiences expect more and more from live shows, we’re certain that company collaborations, such as those we saw at this year’s festival, are an effective way to deliver the expertise and technology required for large-scale events,” he concluded. “It is one of the most challenging events, but when everything comes together, there’s no better feeling.”

Photos: Bad Weather Productions www.badweather.co.za Africa

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EVENT FOCUS

The Blue Line Odyssey Immersive experiences, drones and fireworks combine to celebrate the landmark development of the Dubai Metro Blue Line.

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Dubai is a city that is expanding constantly, and with this growth comes the need for ever further reaching and more integrated transport infrastructure. The latest project in the Dubai 2040 Urban Master Plan is the expansion of the Dubai Metro, with the launch of the Blue Line. Dubai’s Roads and Transport Authority (RTA) tasked experiential agency, The Hanging House, with producing a fitting celebration to mark the announcement, and the company embarked on a journey to craft an event that would transcend mere celebration.

The event unfolded across four distinct zones, with each offering unique and immersive effects and a seamless, sound-scaped auditory experience running throughout, from the entrance to the grand finale.

In the first zone, The Hanging House creative team reimagined Dubai’s future using a painting brush stroke style and animation on seamless LED screens to create a high-end, immersive entrance. “The narrative commenced with a depiction of Sheikh Rashid driving the Metro, marking the inception of a dream,” recalled The Hanging House’s Creative Lead, Luna Arja, explaining the creative. “A multi-dimensional journey unfolded, guided by organic LED Middle East

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presentations and lights embedded in the floor, touching upon the milestones achieved in the construction of the Metro Red and Green Lines over the years.”

In zone two, content agency Real Image crafted a high-quality render, presenting a realistic simulation of the Dubai Metro’s route through the city in a five-minute video, with carefully designed white benches complementing the event’s aesthetics and ensuring the comfort of guests.

The third zone, the immersive room, showcased cutting-edge technology. “Departing from traditional infographic timelines, we utilised LED screens to add depth,” recalled The Hanging House’s Co-Founder and COO, Husam Harris.

“Animated seawater splashing onto Dubai’s map preceded a detailed exploration of the new Metro’s architecture in a 3D model. The pinnacle of technology in this zone was the activation of the iconic station, employing projection mapping to captivate and entertain our guests.”

The fourth zone and grand finale unfolded on the viewing deck, featuring a spectacular display of fireworks, a mesmerising light show, and a spectacular drone performance to a music specially composed by Mohammed Harib.

SLS Production was engaged by the RTA and The Hanging House to provide audio, video, and lighting for the project. Senior Project Manager Anuj Naik led the project for SLS, alongside HoD Lighting, Praveen Jayakumar, HoD Video, Edgar Pulido, and HoD Audio, Suresh Jayakumar.

The lighting inventory included 100 Ayrton Cobras, 100 Astera Titan Tubes, 48 Robe BMFL WashBeams and 24 ARRI SkyPanels.

The video supply meanwhile comprised Absen PL V10 3.9mm and 2.5mm LED at the entrance and opening area, as well as Absen 1.9mm LED, two Panasonic PT-RZ21K projectors, and an Epson EB-PU2116W laser projector in the presentation areas, and seven Panasonic PTRZ31K projectors to map the bridge area. Content was run through Dataton WATCHOUT and Resolume Arena media servers and a Lightware MX2-16x16-HDMI20 matrix.

The audio deployment included an L-Acoustics Syva system for the entrance area, PreSonus AIR10 speakers for the exhibition area, and JBL systems for the immersive area and drone show audio, with a Yamaha QL5 and DiGiCo SD9 supplied for audio control. A Shure ULXD4Q quad-channel wireless microphone system, DPA Microphones 4288 headset mics

and ClearCom FreeSpeak II was also supplied.

“Bringing the client’s vision to reality has been a great source of pride for us as a production company – especially for a dream project like this,” stated SLS Production’s Account Manager on the project, Theophilus Andrew. “It is a momentous journey for SLS as a production crew; a milestone and one of our thriving success stories.”

‘We accomplished the extraordinary’ With an impressive 2,500 LED drones as well as an arsenal of fireworks deployed, Denis Astakhov, Creative Director for the Drones and Pyro, was a key figure in the production.

“While normally we would create the drone formations as visual metaphors of the subject we’re following in the show, here I wanted to try a very literal approach,” he told TPiMEA. “I thought it would be interesting to push the boundaries of the drone technology and create a full-scale physical representation of a future metro bridge floating just above the water. So, I focused on how we augment the reality with the drone technology, instead of conceptual approach.”

Astakhov praised the Lumasky team for their capabilities and dedication. “Bringing the future

Dubai Metro bridge to life using drones was an exhilarating endeavour,” he recalled.

“The technology allowed us to artistically recreate a glimpse of the upcoming metro line and the train traversing the canal in the Dubai Creek area. It’s a visionary task that complements our reality seamlessly, offering a tantalising preview of what will soon become a tangible bridge and a fully operational subway train. Working with the Lumasky team and JeanMarc Chandoo was instrumental in realising this vision, and Dubai, with its dynamic landscape, serves as a perfect canvas for pushing the boundaries of drone show artistry.”

The Creative Director recalled one of his highlights of the drone show – the formation of His Highness Sheikh Mohammed bin Rashid Al Maktoum, which featured “almost magically” animated eyes. “What might seem a small detail and an obvious thing required Lumasky to invent the technology and develop the tools necessary to achieve it,” he explained. “And, of course, we owe our success to the boldness of the agency and the visionary client who allowed us to explore new frontiers in drone show artistry.”

According to Astakhov, what sets this project apart is the unique role of drones in completing

the environment. “It’s a rare opportunity where technology doesn’t just enhance but becomes an integral part of the area,” he surmised.

Unsurprisingly for such a high-profile performance in a prominent area of Dubai, the project required coordination with several government entities, including the General Civil Aviation Authority, Dubai Civil Aviation Authority, the Ministry of Defense, Dubai Police, and Dubai Maritime Authority. However, according to Denis Kornilovich, Managing Partner and Executive Producer, Lumasky Drone Show, the company’s strong relationships with these authorities ensured that everything was ready and there was ample time for testing and rehearsals prior to the main event.

“Organising a show involving drones, music, lights, and pyrotechnics always presents its challenges, and this time, the complexity was heightened by the unpredictability of the main guest’s arrival,” Kornilovich recalled.

“Unlike lights or pyrotechnics, drones require strategic planning due to their flight limitations. We couldn’t afford the risk of the audience being on the observation deck before the show started or, conversely, missing the spectacle altogether. Achieving impeccable 25

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timing became our paramount challenge.

Through meticulous coordination and leveraging our team’s experience, we achieved a flawless synchronisation of the show’s start precisely when the audience reached the observation deck,” he added. “This required a unique blend of technical expertise and a keen understanding of timing, essentially predicting the guests’ movements with a level of professionalism that ensured a seamless and captivating experience.

It was a delicate dance of technology and timing that, in the end, added an extra layer of magic to the entire event.”

The project’s technicalities involved a strict four-minute time limit for the visible show. “To overcome this, we divided the 2,500 drones into two fleets, ensuring a seamless performance.

One fleet of 1,500 drones executed formations of the bridge and the train, while the other of 1,000 was dedicated to showcasing the portrait and logos,” Kornilovich described. “We utilised aerial fireworks at varying altitudes, from water surface level to 300m, creating a dynamic

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cascade. All fireworks were strategically placed on 15 pontoons in the channel, eliminating any interruptions in the show.”

The project was a great source of pride for Kornilovich. “We accomplished the extraordinary – the first animated aerial portrait with drones, the lowest drone flight over water at 7.5m, and the longest drone train at 550m,” he reflected.

“The entire show, synchronised with music, lights, and fireworks, featured five formations of the highest quality within time constraints. It’s not just a drone demonstration but a proud display of meaningful storytelling through a spectacular performance.”

With blue selected as the dominant colour across drones, lighting and pyrotechnics, the FLASH ART team devised a fireworks concept that complemented the other show elements.

“We knew this would be an interesting project from the very beginning,” recalled Jakub Michalik, Managing Partner, FLASH ART. “It was the number of elements involved, together with the inclusion of the whole neighbourhood in

which everyone was instructed to follow the colour scheme discipline, which promised a spectacle to remember.”

While FLASH ART’s brief was to provide a strong presence for a relatively short amount of time among the various other media, according to Michalik, the key to the success of the project was the creative concept, which resulted in a “concise and tasteful, yet dynamic and impressive” show.

“The division of show ‘real estate’ between all the designers, who each needed their own space in three dimensions, provided somewhat of a challenge, and we had to shift our setup around at the pre-production stage,” he recalled.

“However, looking at the finished product, we would do it all again and more.”

Photos: The Hanging House, FLASH ART www.thehanginghouse.com www.avocadotoast.com www.flashart.com www.lumasky.show www.slspro.net

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Noor Riyadh 2023: DIALOGUE TPi’s Stew Hume reports on an awe-inspiring visual feast of lighting and lasers – made all the more impressive by a spectacular drone and fireworks show to celebrate the announcement of Expo 2030 Riyadh.

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Back for its third year, Noor Riyadh Light Art Festival in its short lifetime has become the world’s largest light festival. Throughout December, the city is transformed into a giant canvas for some of the world’s leading Lighting Designers. This year, the event coincided with the announcement that Riyadh would also be hosting Expo 2030. With even more reason to celebrate, the Royal Commission for Riyadh City was keen to up the ante.

One of this year’s most eye-catching installations was named DIALOGUE, which saw two of the dominating icons of the Riyadh skyline – Al Faisaliah Tower and Kingdom Centre – lit with almost 500 fixtures, with the buildings ‘communicating’ with one another through lighting beams shot between the skyscrapers.

During these demonstrations, which took place for two weeks in December, those in Riyadh were also able to listen to a unique piece of music that had been composed by Chris Kuijten for the project, which synced up to the giant light show and was playable through viewers’ phones.

The artist behind the show was Christopher Bauder. No stranger to Noor Riyadh, Bauder had Middle East

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worked on the previous two editions. “The overall concept of the show centred around the idea of communication and dialogue between the two towers as if it were two people, two nations, or two cultures,” stated Bauder. “It’s something that we’re lacking these days and I wanted to symbolise that with this installation.”

With it being such a short turnaround, the Lighting Designer spoke of the challenges of sourcing such a huge number of fixtures in such a short space of time. There were almost 500 moving lights on the two towers with an additional 70 floodlights also required for the project. “We also needed super ultra-bright lasers to make connections between the two towers and there were only five of these lasers available in the world, but we were able to secure four of them,” enthused the LD. The lasers in question came from a company called Laserfabrik and were manufactured by ATI. As for lighting, the main workforce fixture used on the show was the Ayrton Cobra – the laser source IP65 fixture. “We chose the Cobra both for its IP65 rating as well as the quality of the beam,” stated Bauder. “They were also one of the

only fixtures available in large enough numbers to pull off this show. We worked together with Ayrton and some of their suppliers to source these 500 lamps. I believe at the time that was almost all of Europe’s supply of that fixture!”

Both skyscrapers presented an interesting challenge in how to rig this ambitious array of lights as well as having to compete with strong winds during installations.

Bauder was keen to highlight the work of Martin Kuhn, Senior Technical Manager Special Projects at WHITEVoid, along with the ES:ME team, who came together to solve many of these issues. The production also had to deal with the logistics of installing the large lasers, each one weighing 300kg.

“Originally, we wanted to put the laser on the top of the Kingdom Centre where the tower ends but it wasn’t possible to get it up there without a helicopter. We used two lasers in the end to create an antenna effect on a lower position, which was much nicer,” Bauder recalled.

“For the Al Faisaliah Tower, we also had the two lasers and we needed to be careful to restrict their positioning so as not to hit other buildings

because they are dangerous and amazingly bright. We also had to be careful as this had never been done before with this kind of bright laser in the city shooting horizontal. In the end, it was a super spectacular effect.”

Bauder also explained that he and the team had to work into the very early hours of the morning to get the building set for the show.

“We could only use one of the towers after 1:30am, so we didn’t have much time to rehearse until the sun rose at 6am. I don’t think we saw it together until the night of the launch,” he laughed.

“There were lots of helpful people, and in the end, everyone came together to get it off the ground.”

In terms of highlights, the designer explained how a project of this scale enabled him to think outside the box and experiment with looks that he’d never been able to do before.

“For example, I concentrated all the lights I could get on one point and that gave me the opportunity to do something called ‘beam stacking’ to up the brightness,” he explained. “In our case, the brightness was upped by a factor of 20 to 50. This really showed what is possible with the current technology available to have an unprecedented brightness and contrast.”

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Keeping eyes skyward To add to the already jaw-dropping visuals, and to celebrate the latest Expo 2030 announcement, Havas Event and the organisers of Noor Riyadh Light Art Festival also brought in Groupe F to create and perform a one-night, citywide-scale gesture, with a drone and firework show.

“It was a bit of a last-minute addition when it came to the Expo celebrations,” explained Bauder, stating that it was only days before opening night that he knew of the addition. That said, his visual team were able to collaborate with Groupe F in some very interesting ways. “For example, we also used the lights with the smoke given off by the fireworks to create some interesting looks.”

TPiMEA also spoke to Groupe F’s Deputy Managing Director Nicolas Chavance about the company’s involvement with the show. He commented: “The concept was to start the show using the King Abdullah Financial District skyline as our scenography background for a massive 2,300 drones show and then expand the show throughout the city itself, displaying fireworks from 14 rooftops simultaneously – 10km wide – over major landmarks such as Al Faisaliah Tower, Kingdom Centre, King Abdhullah Financial District, PIF tower.”

Chavance joked how it was almost “mission impossible” when it came to pulling off this ambitious production. “A project of this scale was really ambitious,” he laughed. “Imagine the freight, importation, approvals, and production process for a project like this one – involving over 100 technicians, pyrotechnicians, drone pilots, rope access workers, all of which had to be done in a few weeks. I’m convinced that the key element of success was the field expertise and solid relationships with all the stakeholders. It would not have been possible to do anything like it in a such short amount of time without having a strong, permanent, and experienced project management team in the field.”

Chavance was keen to give credit to the Royal Commission for Riyadh City as well as the owners and ops teams at each tower his team displayed fireworks at. “This project is a human success, showing that everything is possible,” he enthused.

An additional element that the Groupe F team also had to consider with this production was that it was not just for those lucky enough to see the show in person but also to the numerous people watching the live broadcast. “The client wanted us to be involved in the worldwide broadcast project, deciding all camera angles and locations.

We always design our shows for the live audience of course, but also for the cameras and the worldwide spectators,” he explained. “So, having the trust of the client to work with them on the ‘final cut’ of the TV broadcast is always a huge honour for us as we are involved from A to Z.” Despite having worked on some of the world’s biggest events from the Olympic Games Ceremonies to the FIFA World cup, Chavance stated that this latest project was always going to hold a special place in the company’s collective memory. “The Expo 2030 reveal is the project that could be named ‘if you can dream it, you can do it’. We really must thank Royal Commission for Riyadh City and Havas Events for putting their trust and energy in this one with us.”

Photos: Ralph Larmann, Groupe F www.whitevoid.com www.groupef.ae Middle East

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New Year’s Eve 2024 From Dubai Frame’s first ever display and the iconic Burj Khalifa spectacle, to a performance from a legendary singer at Atlantis The Palm and a record-breaking drone show at Sheikh Zayed Festival, the UAE continues to push the envelope when it comes to New Year’s Eve celebrations.

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Encore

With its prime location on the Crescent of the Palm Jumeirah, Atlantis The Palm always pulls out all the stops for New Year’s Eve. This year was no different, as global superstar Sting took to the stage, along with his five-piece band.

As the contracted in-house technical provider for the property, Encore once again provided a turnkey technical supply. “With the recent opening of Atlantis The Royal, the hotel wanted to do something new and exciting and they contracted Artists in Motion (AIM) to produce a 15-minute midnight show with an AV element, drone show and extended fireworks show covering both properties,” explained Middle East

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Encore’s Director of Project Management, André Du Toit. “Sting was the A-list artist, and we spent three months working with his production along with AIM to deliver on their technical riders.”

With a brief of producing a fresh new stage design to allow for improved viewing through the stage for the drone and fireworks show elements – which were provided by AO Multimedia & Drones and FLASH ART respectively – Encore contracted AES (All Event Services) ME to provide all the structures, stage and five AV towers around the site. “We opted for an arched stage design with a custom clear roof skin, which allowed excellent transparency to make the drone show and fireworks clearly visible above and beyond the stage,” Du Toit recalled.

Among the extensive supply was a d&b audiotechnik J-Series PA, DiGiCo Quantum 338 control, Shure PSM 1000 IEMs, a lighting package

including Robe MegaPointes, and BMFLs, Ayrton Cobras, and Elation Proteus Rayzors, as well as a video deployment of an 18m by 8m mesh LED screen, two 7m by 4m IMAGs, and five 5m by 3m delay screens, with content managed by Analog Way Aquilon.

“We also supplied the timecode generators (main and back-up), and distribution to the fireworks team, as well as wireless distribution to the drones control team,” Du Toit highlighted.

“This was done with a dual-link wireless network bridge, main and back-up.”

Reflecting on the project, Du Toit was pleased with the achievement. “The overall production went extremely smoothly,” he commented.

“Everybody was very impressed with the stage design and layout.”

Photos: Nathan Gonzales www.encore-emea.com

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FLASH ART

With several projects running simultaneously throughout the UAE as well as Bahrain, to say that New Year’s Eve 2024 was a busy one for the FLASH ART team would be putting it mildly.

“It’s still a bit of a blur, with months of hard work culminating in a single night,” recalled Creative Director and Senior PM, Piotr Szablowski. “It certainly took a lot out of all of us to deliver what was probably our most intense single night yet.”

Among the catalogue of productions, Szablowski highlighted FLASH ART’s delivery at Burj Al Arab, Madinat Jumeirah as well as both Atlantis the Palm and the Atlantis The Royal as the larger projects. “Dubai Frame also required a lot of work and planning,” he added. “That was by no means a walk in the park!”

And that was far from the extent of FLASH ART’s work for the evening, as the company Middle East

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also delivered projects in Festival City Dubai, Al Maryah Island, Emirates Palace, and Yas Island in Abu Dhabi, as well as six various locations throughout Bahrain. “We always invest a lot of energy – and, dare I say, love – into these projects,” Szablowski commented.

With the busiest night of the year now a distant memory, Szablowski looked back with pride. “One thing that is crystal clear after all of this is the joy of working alongside the incredible team of people who every year surprise us by flawlessly carrying out even more than previously, with smiles on their faces throughout,” he reflected.

“As we jump into a new year, we are already hard at work and looking forward to what 2024 will bring.”

Photos: FLASH ART www.flashart.com

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Groupe F

Since the Grand Opening of the Burj Khalifa in 2010, Groupe F has performed an incredible 10 firework displays on the iconic building – and the company was invited back once again for this year’s New Year’s Eve celebration. “We have witnessed spectacular changes and construction in Downtown Dubai, proudly supporting EMAAR marketing teams for New Year’s Eve celebrations over the years,” stated Deputy Managing Director, Nicolas Chavance.

“While the brief is slightly different every year, Middle East

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we always have the same objective: the safest and most spectacular New Year’s Eve show on the highest building on Earth.”

For this year’s edition, EMAAR gathered a team of experts in each line of business – video and music content, lights and lasers and, of course, fireworks. “The creative process begins eight months before the show,” Chavance revealed. “From the first creative meetings until the performance, all the teams involved must work hand in hand at all times to deliver a perfectly orchestrated show for the public around the Burj Khalifa.”

With the show having to be prepared while respecting the luxury accommodation standards offered by the Burj Khalifa to its residents, the project is always a challenge. “The Burj Khalifa is

a unique place that is in demand all year round, so it’s vital to manage a schedule that fits in with the daily operations of the building,” Chavance reflected. “Year after year, we learn more and more how to anticipate and find the best solutions so everyone can continue to conduct smooth operations.”

Looking back on another successful show, Chavance was full of pride for the team. “To be involved in this one-of-a-kind event makes me extremely proud,” he commented. “All the crew – from the rope access workers to the pyrotechnicians and the technical and creative teams – are all super-happy to return to meet the Burj Khalifa operational team year after year.”

Photos: Groupe F www.groupef.ae

EVENT FOCUS

AO Multimedia & Drones

Running in Al Wathba for 114 days from 17 November to 9 March, Sheikh Zayed Festival is undoubtedly a highlight of the UAE’s winter season. For this year’s New Year’s Eve celebrations, the festival welcomed in 2024 with a record-breaking multimedia spectacular featuring lighting, fireworks, and drones, produced by AO Multimedia & Drones, in collaboration with AirGlow.

Representing a significant milestone in the history of the Sheikh Zayed Festival, the New Year’s Eve production broke a total of four Guinness World Records – one of them with the spectacular drone show embedded within Middle East

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a unique laser and light show, the likes of which have never been seen in the region on this scale.

With lighting designed by Jerry P. Appelt, the show utilised AO’s FALCON BEAM2 7K and FALCON 6000 4K xenon searchlights as well as, for the first time, two ultra-bright 600W lasers, which were scenically integrated into the performance to connect to the sky and draw attention to the location in a large radius.

When it came to drones, a swarm of 3,300 LED drones including more than 1,000 pyro drones combined to create myriad formations including an animated falcon with pyro igniting its lower wing edges, and a ‘Happy New Year’ with the number ‘2024’ set ablaze.

Sheikh Zayed Festival wasn’t AO Multimedia & Drones’ only project on New Year’s Eve, as the company was also engaged by Artists in Motion to produce a drone show for the celebrations at Atlantis The Palm. Taking place alongside a

performance from legendary singer, Sting, with his five-piece band, the show featured 500 LED drones that interacted with the fireworks launched on the stroke of midnight.

“The end of the year, with two NYE shows to be realised in parallel in the UAE, was very challenging and perfect time management was required, but with good communication and co-operation with our clients and the hard work of our professional team, everything ran smoothly,” stated Marco Niedermeier of AO Multimedia & Drones. “The end result was a massive endorsement of the hard work of all involved, and the fact that Sheikh Zayed Festival’s New Year’s Eve earned four Guinness World Records – including the biggest aerial logo flown by multirotor/drones – is a welcome bonus that makes everybody happy and proud.”

Photos: AO Multimedia & Drones www.ao-technology.com

20 YEARS OF CAPTIVATING THE REGION

TWO DECADES ONE SKY

PRODUCTION PROFILE

Metallica at MDLBEAST Soundstorm The heavy metal legends appear in Saudi Arabia for the very first time, with a statement performance on a new and improved BIG BEAST stage at MDLBEAST Soundstorm.

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Since bursting onto the scene in 2019, MDLBEAST Soundstorm has quickly solidified its status as the region’s biggest live music festival, welcoming hundreds of thousands of young Saudi music fans to its ever-expanding, purpose-built site in Banban. The festival has grown year on year, attracting higher-profile artists and expanding its offerings across multiple genres, and for its 2023 edition, this growth reached a new level as heavy metal icons Metallica made their first appearance in Saudi Arabia, gracing Soundstorm’s new and improved BIG BEAST stage.

According to MDLBEAST Executive Director of Events, Michael ‘Curly’ Jobson, the prospect of Metallica playing Soundstorm had been high on his wish list for quite some time, having known the Metallica and Q Prime family since the mid 1980s.

“The dialogue began some time ago,” he told TPiMEA, explaining how a casual conversation with ex Q Prime colleague Brian Celler led to a call with Metallica’s Manager Tony DiCioccio, and Production Manager, John Mulder. “Once we got on a call and helped them understand the kind of festival experience they would be walking into, we got it done pretty quickly. They invested great trust in us to deliver what we promised.”

For Metallica’s PM, John Mulder, there were no preconceived notions of what Soundstorm would be like. “We had never been to Saudi Arabia before and we didn’t know what to expect,” he admitted. “However, from the moment we started Middle East

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working with the MDLBEAST team, to walking on-site and seeing the enormous stage, the level of professionalism, teamwork, and love that went into everything was stunning.”

With four decades as a concert promoter working with the likes of Bob Dylan and the Rolling Stones over the years, Mulder knows a thing or two about what it takes to put on a large-scale event, and the former Mojo CEO was suitably impressed by what he saw in Saudi Arabia. “Whenever I go to a new place, I look at it from both the touring and festival promoter perspective, and when I saw the Soundstorm setup and what those guys are doing, it blew my mind,” he praised. “It’s a unique setup and to have a festival of this calibre only four years in is really something special.”

Mulder highlighted the “next-level” production values and professionalism of the MDLBEAST team as key in the success of the show. “The production level is epic; It’s the biggest stage I’ve ever seen in my life. We normally tour with 40-plus trucks for a Metallica stadium show, and the festival had everything we needed and more.

It was phenomenal,” he acclaimed. “Even down to the back of house hospitality – the dressing room was put together with a lot of love so that the band and production felt welcome.”

The PM was also complimentary about the logistics, and he reserved special praise for one person in particular. “The festival has thousands of workers, but there was one person

I was so impressed with: Ieva Irbina [Artist and Crew Logistics Lead at Ginger Owl]. She had 250 vehicles to take care of, yet she remained completely calm. I would say she represents the festival as a whole – calm, organised, spot on.”

Naturally, we took this praise to Ginger Owl Co-Founders Nancy Skipper and Julie Chennells, who were delighted with the recognition.

“Soundstorm 2023 was the biggest show yet for our teams working with MDLBEAST; we’re delighted with the success of the event for our client and the teams alike,” stated Skipper. “This year we had 205 staff supporting and managing Artist Liaison, Crew Logistics, Accreditation, Event Technology, Artist Logistics, and Crew Support.

From visas for the crew to helicopter transport for the artists, every detail was prepared and advanced. Everyone put in a huge effort to make things run smoothly.

“With so many moving parts, it takes 100% dedication to make it work and that’s what we saw at Soundstorm,” she added. “We can’t thank our staff enough and huge congratulations to MDLBEAST for another fabulous festival.”

‘They loved every minute’ Metallica played on the new and improved BIG BEAST Stage, which is now part of the festival’s permanent infrastructure. “The shell is bigger and better than anything out there in the world – it’s future-proofed for rigging capacity, deck space, trim, working areas… It’s a truly world-class

Congratulations to all the team at MDLBEAST and all our project partners on another record-breaking Soundstorm festival.

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PRODUCTION PROFILE

stage,” described Curly, adding that the stage is planned to be used for further events throughout the year.

With eight stages sprawled across the massive festival site, an extensive cast of creatives and technical suppliers combined to achieve the incredible feat. For the BIG BEAST Stage, Alex Reardon of Silent House created an all-new stage design redolent of a swooping eagle, which was packed with the latest in lighting, video, audio and rigging technology, supplied by PRG. “We have a great team on BIG BEAST,” stated Soundstorm Production Director, Andy Head.

“PRG’s PM Stevie Marr is brilliant – he runs all his departments and feeds into me, cutting through all the noise and only telling me what I need to know. We also have Clair Global on comms and networking, ER Productions on special effects, and Grucci bringing the fireworks. We all work very well together as a collective.”

For Clair Global’s Stu Wright, the project represented a “wonderful opportunity” to support the company’s touring clients who are in demand within Saudi Arabia’s burgeoning live music scene. “Clair KSA was pleased to provide site-wide communications and networking to Soundstorm for the third year, as well as audio solutions to four of the festival’s Underground Middle East

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stages,” he commented. “Metallica made history as the first metal band to play in Saudi Arabia, and their mammoth headline show was a performance to remember!”

The stage design was altered slightly for Metallica, with Al Laith adding extra wings to the left and right, which allowed the band to get right out into the crowd and see the fans up close – something that they have become accustomed to in their in-the-round stadium shows, which feature the Snake Pit standing area located in the middle of the stage.

“The fans had an amazing time,” Head recalled, reflecting on the importance of the show, which brought an A-list heavy metal act to Soundstorm’s young Saudi Arabian audience for the first time. “People flew in from all over the region just to see Metallica – they loved every minute!” Mulder agreed: “We didn’t know what to expect from the crowd, but they were so into it.

They knew every song and that was one of the reasons the show was so amazing.”

For Head, working with the Metallica team was a pleasure. “John Mulder and his team are experts in their field, and it was wonderful to work with them,” he reflected. “There can’t be many places they haven’t been to before, but Saudi was an unknown to them. However, we made them feel at ease and everything ran like clockwork.”

‘This festival has an amazing future’ ER Productions provided a complete package of lasers, pyrotechnics, and special effects.

John Thurston, ER Productions Crew Chief, recalled his first interaction with the Metallica team. “Metallica’s Pyro Designer, Tristan Ford, approached Ryan Hagan and I ahead of the event to devise a huge custom pyro finale for the end of the set,” he revealed. “This was a significant undertaking, involving bringing in extra pyro product at short-notice, adding additional firing positions on the complex BIG BEAST structure using a combination of high-lift cranes, elevated platforms, and specialist pyro-riggers working at height for several days.”

The laser package consisted of 40 AT30 RGB lasers from the company’s fleet of purpose-built show lasers, as well as 20 BB3 units for diffraction and audience-scanning. “All the laser units were driven by our newly developed server racks and custom FOH control units, offering visiting artists a seamless choice of control options,” stated Thurston. “Not to mention, the systems are looked after by some of the most knowledgeable systems engineers, programmers and operators in the business.”

ER’s Stadium Flame system produced 12 impressive flames, peaking 56m above ground level. “The great thing about the Stadium Flame

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PRODUCTION PROFILE

Above: MDLBEAST Executive Director of Events, Michael ‘Curly’ Jobson, and Metallica PM, John Mulder.

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system is that the heads weigh only 30kg and are as small and easy to rig as any lighting fixture, but with an extremely impressive output,” Thurston added. “The units are refilled at ground level, meaning that there is no risk of them running empty on flame-heavy sets, such as Metallica’s.”

The Stadium Flames were accompanied by 16 pump-fed FlameBlazers on the stage wings and 12 Explo Wave Flames on the centre-thrust.

Soundstorm 2023 saw ER’s first major rollout of the Showven Sonic-Boom PLUS units – a viable smoke-based eco-alternative to CO2 at shows and festivals.

“The speed and output of the units was considerable,” Thurston observed. “ER will be investing into more of the units to cater for the growing demand for eco-friendly special effects.”

With over 4,500 pieces of pyro rigged and fired over the Soundstorm weekend, Thurston was proud of the achievement. “I couldn’t be happier with the result of both Metallica’s requirements and the festival overall,” he reflected. “We faced fresh challenges this year, driven by a desire to do more and to bring new effects with new artists to Soundstorm. ER has a fantastic team of dedicated, driven, passionate professionals in all aspects of our business.

Seeing the team come together on one of the largest projects in our calendar to deliver a flawless finished product was the highlight of my working year. Sign me up for 2024.”

Producing the fireworks and PyroDrone elements of each night’s finale moment was Fireworks by Grucci. “Our team installed and produced multiple display locations surrounding the Soundstorm event site so anyone at any of the multiple stages could experience the finale each evening,” commented CEO and Creative Director, Phil Grucci.

“Working with the MDLBEAST and productionglue teams, as well as Metallica, on their finale moment was a great experience resulting in a beastly finale that more than lived up to expectations,” he added. “Expanding on our PyroDrone technology has provided us a new third dimension in our fireworks, drone and PyroDrone performances. With the successes at Soundstorm 2023, we expect some outrageous new designs coming for 2024.”

With the Metallica team opting to bring their own control package, Rock-It Global sprang into action to have the gear flown from New York to Riyadh in plenty of time. “We use Rock-It everywhere we go, and they were fantastic as

usual,” Mulder commented. “Everything was super quick, efficient and very well organised.”

For Rock-It’s Harry Calthorpe, the project was a resounding success. “It was great to see an act like Metallica coming to Soundstorm – it was definitely a first (and won’t be the last) for the region,” he told TPiMEA. “Operationally, things were very smooth. Our team had everything aligned well in advance to facilitate a smooth arrival and delivery to site, so everything was ready and waiting for the crew’s arrival. I speak on behalf of everyone in our team in that it was a pleasure to work with the Metallica crew on this.”

Along with the show being the festival’s first foray into the world of heavy metal, it also provided the platform for Soundstorm’s first ever on-site artist merch sales. “We customised some of our merch cabins with Metallica colours and the new logo Metallica 72 Seasons setup,” recalled Curly, adding that demand was off the charts. “The sales went incredibly well. They could have sold four times the amount that was shipped in. So, that’s another new avenue we hadn’t broached previously that there’s clearly a high demand for here in Saudi Arabia.”

Aside from an admittedly “slightly selfish personal interest” in having Metallica play at Soundstorm, Curly asserted the importance of this landmark occasion for both the festival and the country. “This was a first-class delivery from end to end, which proves exactly what we’re capable of,” he stated.

“We need to keep growing, keep learning and continuing to convince people that we’re a destination worth coming to and an entity to trust. We’ve got a long road ahead and we’re in it for the long run.”

As far as Mulder is concerned, he has no doubts when it comes to the potential of the festival and the country. “This festival has an amazing future,” he enthused. “There’s no reason I could see that would stop any of the world’s biggest acts from playing here. It’s great that MDLBEAST is stepping up to the challenge. If I was a kid in Riyadh, I’d be so happy with what they are doing here.”

Photos: Oskar Brewitz, MDLBEAST www.metallica.com www.mdlbeast.com www.er-productions.com www.gingerowl.co.uk www.grucci.com www.prg.com www.rockit.global

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PRODUCTION PROFILE

52nd UAE Union Day The UAE’s sustainability story is told in spectacular fashion, with a ground-breaking production set in a giant rotating theatre, which leaves a lasting legacy for the country’s events industry.

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UAE Union Day is always a special occasion for the nation, and with this year’s celebrations coinciding with the country’s landmark role as host of COP28, the eyes of the world were well and truly on the UAE. Tasked by the National Projects Office with producing a ceremony that illustrated the UAE’s sustainability story and shared a message of hope and optimism, the Organising Committee of the 52nd Union Day Celebrations once again brought together an all-star cast of collaborators, including Creative Director and Designer, Es Devlin, and Lead Producer, People.

Catching up with TPiMEA after the dust had settled, Managing Director of Spectaculars

by People, William Jensen, reflected on the undertaking. “This is the fourth year that we have been involved and the second year in a row that we have led the project,” he began.

“The more you do something, the better you get, and following a successful production last year, we worked with the National Projects Office to ensure that this year would be smoother, more efficient and have an even better output.”

With this in mind, preparations began much earlier than in the previous year, with the potential Middle East

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venues quickly narrowed down to the final choice of Jubilee Park in Expo City, Dubai. “Being co-located with COP28 was a clear draw, and the fact that it was an existing venue also aligned with the project’s sustainability goals,” Jensen said of the venue. “Once this was locked in, we quickly moved into ideation and conceptualisation.”

With sustainability top of the agenda – both in the show’s subject matter and its production – sustainability consultancy The Bulb was brought onboard early in the project. “Sustainability was a guiding principle for the whole process, and The Bulb was a central partner in that,” Jensen explained, adding that the combined efforts of the team resulted in the event becoming one of the first shows in the UAE, and the first UAE Union Day, to achieve ISO 20121 certification, which required the production to undergo a rigorous, five-day audit from the BSI (British Standards Agency), including documentation checks, interviews, and a site inspection.

According to The Bulb’s Founder, Selina Donald – who has led the sustainability strategy for many of the most high-profile events in the world including the recent Birmingham Commonwealth Games Opening and Closing

Ceremonies – one of UAE Union Day’s greatest achievements was the transformation of the team’s working practices and behaviours, with even the most experienced industry veterans on site fully embracing importance of the sustainable way of thinking.

“Historically, events have a high carbon footprint and are planned and delivered in a ‘business as usual’ way. However, applying sustainability to the approach, policies, processes, communications, and accountability that took place for this show has had a significant impact,” Donald commented. “This has been proven by the culture of sustainability that was established, in which sustainability became part of everyone’s job. This will have a ripple effect across the event industry, proving part of a sustainable legacy.”

Integrated into the team in the very early stages, Donald spent an initial five weeks in the UAE creating a strategy and setting key goals in every aspect of the event, from energy, waste, and materials, to travel, transport and suppliers. “Getting involved early in the project was incredibly helpful as it allowed us to hold workshops with the client, spending time to

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PRODUCTION PROFILE

understand what sustainability means for them and what it means for the UAE. It also made it easy to build the strategy into the standard working practices throughout the event.”

Among the catalogue of policies put in place, Donald reported several “easy wins”, where simple changes led to impressive results.

“Single-use plastic bottles were not allowed on site; instead, we asked all suppliers to give their crew refillable water bottles, and aluminium cans were provided for any backups,” she stated. “The client noted that it was the first time they had ever walked around the back of house and not seen plastic bottles strewn everywhere, and with this single action, we saved nearly a tonne of plastic.”

Materials were a major focus of the sustainability strategy, with 93% of assets in the show hired or made from reclaimed or recyclable materials, and 91.5% of materials reused, donated, and repurposed post-show. Materials included FSC-certified timber, Cradle to Cradle-certified ReBoard and pioneering locally produced products DATEFORM – made from waste date seeds – and Desert Board, which is crafted from upcycled palm fronds and was used to build three iconic scenes in the show.

There were also significant advances made in power consumption, with 93% of back of house Middle East

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power taken from the mains grid – one of the most efficient forms of power. “Our original goal was to draw a fifth of energy from mains, but to get 93% is a massive success,” Donald stated.

UAE-based Flow handled the entire power requirements for the event. Account Manager, Aaron Lewis explained the brief. “Flow was contracted to supply primary and secondary power to the UD52 show revolve, FOH and BOH, utilising as much of the ready power from the venue as possible,” he explained. “Every circuit was carefully engineered to maximise the amount of power available onsite and reduce the amount of generator power delivered.”

Where generators were required, biofuels were used. “People choose Flow for our reliability and execution,” he added. “We were proud to deliver the entire project to three main scopes, on time, without incident or any failure.”

Union Day was also the first large-scale event in Dubai to utilise the event industry carbon calculator, TRACE. “We built in the data we needed to collect to use TRACE into simple forms that we were already using,” Donald said of the data collection process required to calculate the event’s carbon footprint.

“It’s so important to make everything as easy as possible,” she added. “Nobody wants another

layer of complexity added to an already busy, under-pressure site.”

With a workforce of 265 (including creative collaborators), a cast of 494, 50 hosts as well as numerous crew, an impressive 93% of suppliers contracted were based in the UAE and 75% of the workforce was recruited from the UAE, reducing the requirement for hotels and flights, cutting the event’s carbon footprint and contributing to the local economy.

“The Middle East is an emerging market in terms of sustainability and with the UAE having hosted COP28, it’s a subject at the forefront of everybody’s mind,” said Donald, noting that The Bulb also worked on several sustainability initiatives at COP28 alongside its duties at Union Day and is now working with Expo City directly to implement its events sustainability guidelines.

“We’ve seen huge progress in recent years but there’s a long way still to go. I’m sure that the team will take the learnings and the success of this production to their next projects, and this will help accelerate sustainability across the region’s events industry.”

‘Past, present and future’ Aligned to the project’s sustainable production values, the content of the show told a story of

the UAE’s sustainability journey, weaving tales of Emirati history and culture with the 17 Sustainable Development Goals at the story’s heart.

The narrative was brought to life with an audacious technical production built into an immersive 72m-diameter, 9m-high revolving theatre of 17 rooms, designed and built by Stage One, with the audience as well as the 94-piece orchestra situated in the centre.

Described by Jensen as “a key partner” on the project, Wonder Works was once again invited for a sixth consecutive year to provide technical direction, production management and CAD design services. “We were brought in relatively early, in mid-summer, as the concept design was still evolving. We provided responsive, high-level technical consultancy and design, taking the creative concept work and sense-checking for build feasibility, audience capacities, as well as guidance over technical budget, timeline, and compliance,” explained Wonder Works Production Manager, Ben O’Neill.

“Union Day is an opportunity for the UAE to tell different stories about its past, present and future, and honing these stories involves rapid iteration of – often wildly differing – creative designs. Our involvement at this stage allowed production to develop their ideas and make

decisions with relative confidence in delivery.”

While Wonder Works initially supported the project from London, Technical Director Dave Williams moved on to site three months prior to the show. “At this time, the show creative was still being developed, but meanwhile timeline-critical scopes of works were drawn up and procured, and the rest of the team was put together,” O’Neill explained. “Around two months before, most of the wider technical team arrived and the main staging build began, followed by technical systems and finally the scenic elements at the same time as beginning rehearsals.”

Despite the project’s earlier start date, the usual time pressure was still a factor. “One aspect of these productions that has changed in the past few years is a push to have cast rehearsals move from the 1:1 rehearsal site to the stage earlier in the process. This has become increasingly useful as Union Day shows have moved away from a conventional stadium or stage ceremony setup, into more unusual one-off staging environments. Seeing the show in-situ earlier helps the production to make adaptive decisions, as well as the practical benefit of familiarising the cast with the novel performance environment,” O’Neill explained. “However, this comes at the cost of technical delivery time, in turn increasing

the pressure on careful scheduling of works and suppliers’ windows of delivery. It requires greater patience from everyone.”

With the revolving theatre consisting of 17 rooms of varying sizes and weighing in at 450 tonnes, the stage required detailed CAD drawings and weight studies to ensure that the structure could be supported and move reliably.

“We used CAD heavily throughout, from early development right up until the show. It’s always central to our process,” O’Neill stated. “We work in 3D as early as possible, allowing us to show clearly what the show will look like, what will be visible, and what it will feel like. Also, to move around the virtual environment and experiment with audience views, broadcast views, making significant decisions on the fly, during meetings with the many stakeholders involved.”

Stage One built the revolve on a scaffold subdeck provided by Al Laith and clad by VK. The build was aided by Wonder Works’ surveying process, which again utilised CAD to provide around 500 setting out points for the steel scaffold build. “The revolve rotated at 1.3m/s and had to sit flush and with minimal clearance to the adjacent decks inside and out. The scaffold came first, sitting across various levels and substrates, but blocking line of sight across the build before 59

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the steelwork went in,” O’Neill recalled, explaining the need for the setting out points.

“We used our total station, which also combines LiDAR scanning capability. Being able to scan the site gives a comprehensive and millimetre-accurate view of the build in progress.

Overlaying the results with our 2D and 3D CAD models, we could check the geometry was true, guide corrections as required, as well as spot and resolve potential build issues elsewhere before they became a problem.”

Providing what O’Neill described as “easily the biggest technical challenge”, the revolve was central to the delivery of the show. “It was a huge undertaking; technically enormously challenging to build, calibrate, troubleshoot and rehearse in the time available, but with very impressive results,” he reflected. “With the seating grandstand tucked inside, the visual and audio experience enveloped the audience, fully immersing them in a way that is uncommon in a seated outdoor environment. Both the show and the venue we built for it, presented a strong, unified aesthetic.”

With this year marking the fifth consecutive UAE Union Day Ceremony that Stage One has been involved in and the revolve being the biggest single piece of machinery that the Middle East

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company has created to date, Stage One’s Managing Director, Tim Leigh, was proud of the achievement. “At full height, the performance area stood at over 8m, and with a circumference of almost a quarter of a kilometre, the revolve was an absolute whopper!” he exclaimed.

“We fabricated the structure in just four weeks in the UK before sending it to the UAE,” Leigh revealed, explaining how updates to the company’s UK facility including the addition of a gantry crane had streamlined the workflow, allowing high volumes of complex steelwork to be produced very quickly. “Our UAE office was also a massive help in this project,” he added.

“We’ve got two full-time employees and lots of automation and control equipment already in the country, and having the team on the ground to liaise with our partners and the other contractors was very useful.”

Stage One worked closely with Dubai-based VK to create the 17 booths that lay inside the revolve and were revealed when two giant doors that weighed around six tonnes each opened.

“The doors could open to almost 180° to give a full field of view. The real magic was created when the doors would open to reveal a scene, then when they closed the theatre would revolve, revealing a completely different scene when

the doors opened again,” he recalled. “It was a visual feast, a beautiful creation and one of the best blends of projection, LED, lighting and live performance I’ve ever seen.”

‘A very different approach’ Another returning member of the team was Lighting Designer, Bruno Poet, who has worked with Es Devlin on a range of projects over the years, including several UAE Union Day Celebrations. “This year’s brief was rather different from previous years, which have been quite site specific,” Poet told TPiMEA. “While the lighting on previous Union Day Celebrations has been mainly about increasing the spectacle and magnifying the scale of the production, this year the brief included much more in the way of detailed theatrical and dance work, which required a very different approach.”

With the 17 enclosed compartments inside the revolve acting almost as internal stages, Poet likened the assignment to lighting a contemporary dance piece, using theatrical lighting techniques, angles, and positions. “It was an extremely detailed scope,” he noted. “Because of the nature of those theatre spaces and how precisely designed they are, the lights needed to be hidden away. We didn’t want to see the

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sources. It was more about the performers within the space and an empty canvas.”

Poet worked closely with the set builders to ensure there were adequate positions within the structure to position the lighting discreetly.

Meanwhile, the fixtures that could not be completely hidden were wrapped in the same RAL colour as the set, meaning visual distractions were kept to an absolute minimum.

When it came to fixture selection, the LD explained that there was a clear divide between fixtures designed to be hidden in the set to provide intimate theatrical lighting and the architectural lighting elements more geared towards “accentuating the edges of the stage”, “pulling everything together visually” and “making the venue look spectacular in the overhead and ground shots”. He added: “We were also very conscious of keeping power and data usage to a minimum, so we didn’t necessarily choose the brightest fixtures that we could get. It was more about selecting the most efficient to do the job.”

Elation Proteus Lucius units were placed on the roof of the revolve structure, with Poet highlighting the versatility of the fixture as well as its IP rating as key factors in his specifying decision. “We wanted something that could do narrow beam for beamy effects but also go very wide for lighting dancers on the roof,” he Middle East

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explained. “It also had to be waterproof – even though we’re in the desert, we didn’t want to take any chances with the weather.” Also on the roof were Martin MAC Aura XIPs, which were used for lighting performers when the Ayrton Lucius were occupied with aerial beam work.

The other major spectacle looks came from inside the ring, with CHAUVET Professional COLORado PXL Bar 16s positioned around an interior moat, giving “a constant musical energy” as opposed to punctuating moments.

“They looked great reflecting in the water,” Poet recalled. “We flipped a few to work as footlights for the performers, but generally we had them pointing out towards the audience.”

The set was also illuminated using LED tape controlled in 1m sections, with four complete circles of the revolve, plus extra tape on the back of seats and in some of the theatre spaces creating a striking effect. “It was all about hidden or diffused source lighting to give the whole thing a three-dimensional effect,” Poet explained.

Inside the theatres, Robe LEDBeam 150 washes combined with ETC S4 LED Series 2 Lustr Profiles as well as Astera AX2s and PixelBricks to light the dancers in small spaces discreetly.

Meanwhile, Poet deployed the wide zoom of the shuttered Ayrton Diablo to pick out details inside the individual theatre spaces. Waterproof Robe

iFortes were utilised as front lights, flood lights in the orchestra pit and remote follow spots, using the RoboSpot system.

Syncronorm Depence R3 was used for previsualisation. “We did some previs in London at the design stage and we also had a previs room set up on site,” Poet recalled. “The schedule was tight, and we didn’t have loads of programming time in the venue, so having the chance to take a first run at it virtually was handy.”

Programming meanwhile was handled by Chris Hirst and Dan Haggerty, with both using an MA Lighting grandMA3 running MA3 software.

“This is the first show of this scale that we’ve done with MA3 software, and it worked very well,” Poet reported. “Dan was mainly looking after the fixed lighting such as the LED tape and endless pixels, while Chris took care of the moving lights.”

Looking back on his favourite moments of the show, Poet singled out a scene where a performer dances with a robot arm. “We used a Zactrack system with the Robe LEDBeam 150 to track both the robot and the dancers, and that worked very nicely with the video element,” he recalled. “The whole performance felt very elegant and theatrical this year. The lighting and video were less bombastic and more stylish, and the choices were subtle and elegant.”

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PRODUCTION PROFILE

‘A world-class production’ As a trusted, long-term partner of People, as well as the design team from Bruno Poet, Encore was responsible for the technical design and delivery of the main show lighting system. In all, more than 950 fixtures were used within the setup, with a focus on IP65 units to ensure that any adverse weather conditions would not impact the reliability of the rig.

With such a massive deployment, the cabling and signal infrastructure required was just as complex as the revolving structure itself. “The network comprised a Full SACN link across eight strategically placed Luminex LumiNode nodes linked with over a kilometre of fibre, which included multiple loops and redundancy backups,” described Encore’s Lead PM on the project, Shannon Beckx.

“From these nodes, we had 17 Luminex LumiNode 12s and three Luminode 4s. These all combined to feed out the 170 Universes of DMX line to various fixture locations.”

The control system was made up of six MA Lighting grandMA3 full size consoles and four grandMA3 lights, all running in MA3 mode.

Control was set up in an onsite previsualisation studio running Syncronorm Depence and linked to FOH consoles. The just over 140,000 parameters were managed with a bank of 10 grandMA3 XL NPUs, which were kept set up in the previs studio to save space at FOH. The full network was run on backup UPS power that secured a guaranteed 30 minutes of network in case of a node power loss. “Some additional VLANs were created in the system, which included links to five Robe BMFL iForte Followspot cameras linked to five Robe Robospot stations, a Zacnet ring to run Zactrack, and OSC to send feed to audio and video,” Beckx stated.

The rotating carousel of theatres required special attention to the network as well as fine power balancing. “The area comprised four network nodes feeding data to the 17 theatres as well as 150 fixtures and hazers on the carousel roof,” Beckx added. “The power was spread evenly by means of approximately 5km of socapex planned out carefully to achieve as close as possible to an even balance of power across phases to ensure effective run of the Buzz Bar Ring and brush systems which fed 63A/3 phase to six strategic locations hidden in the theatres of the carousel.”

With such a technically complex rig, it was crucial that the pre-production planning of all networking and lighting power was extremely detailed. “With design adjustments being developed during the previsualisation process, as well as physical changes on site, our team of world-class technicians ensured that all aspects of the plans were considered,” Beckx said. “With so many other contractors and departments on site and with such a vast amount of equipment required to pull off such an impressive production, People ensured that a detailed and efficient method of loading in the equipment to the different areas was established.”

Encore’s Account Manager for the project, Tom Ralston, reflected on a successful delivery for the team. “We are very proud to have been awarded the contract for such a prestigious event in the UAE. The delivery and cooperation of all vendors working alongside each other in very challenging conditions for long hours to produce a world-class production with innovative Middle East

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designs was exemplary,” he told TPiMEA. “Working alongside like-minded creatives, with sustainability at the forefront of their planning and implementation, is something that sets the UAE apart from anywhere else in the region.”

‘Another incredible design concept’ Also playing a major role in the visual supply was Creative Technology Middle East (CTME), with the company collaborating with People on the design and execution of the video as well as some lighting elements of the ceremony. Stunning video content created by Luke Halls Studio was mapped onto the front 140° section of the revolving theatre, using 16 Panasonic PT-RQ35K projectors running a full 4K HDR projection system with video signals and networking links back to control over IP using Lightware Ubex Pro20-R HDMI 2.0 Extender systems.

Multiple ROE Visual and Absen LED screens were deployed within the revolving rooms, all configured and run with a sophisticated networking and signal management solution at FOH, with limited fibre links to the main systems tent. The networking solution was configured with multiple VLANs for projector control, CCTV, LED systems, server control, and content management links, while signal links were managed with MultiDyne 12Gbps video, audio,

data fibre OGX transport cards and AJA FIDOTR-SDI transceiver cards in a single OGX frame, saving space at FOH. CTME also provided a record suite using its Blackmagic Design solution for daily rehearsal previews as well as supplying signals to the broadcast network. In addition to the main ceremony production, the company supplied large screens to the majlis, lounge and green room as well as an immersive experience for the House of Artisans feature.

The video deployment was complimented with over 550 lighting fixtures from CTME’s Robe, Ayrton and Astera inventory. With a sitewide MA Lighting grandMA network controlling the rig, the lighting team could programme from every point without interrupting the show, while wireless DMX CRMX in each area meant that any fixture could be put into wireless mode, enabling deployment across the site.

For CTME’s Senior Project Manager, Dan Hughes, UAE Union Day was a challenging yet rewarding undertaking. “This project was another incredible design concept, with some boundary-pushing technological challenges,” he commented. “The result was extremely satisfying to deliver and awe-inspiring to witness.”

The show was designed with both the live audience and broadcast in mind, with

DONE+DUSTED (D+D) responsible for capturing and broadcasting. “We had a strong collaborative relationship with D+D on this project,” People’s Jensen recalled. “They were fully integrated into the creative process and played a big part in the creative choices.”

“We’ve been fortunate enough to work on this project for many years, and we have a close relationship with everyone on the team – particularly Creative Director Es Devlin, the Show Directors Francisco Negrin and Gavin Robins, and of course the entire team at People,” explained D+D’s James Merryman. “Understanding their ambition and philosophy for the show early in the process allows us to integrate our equipment with the creative in mind and make the cameras part of the creative storytelling.”

The company’s process began around two months out from the show date, with the D+D team working with the creative teams and choreographers during offsite rehearsals to determine the best shots and create a camera script for the arena.

“We moved into the arena 10 days before the show and installed an entire broadcast control room, cinematic Venice cameras, VFX and post-edit bays, and of course lots of cabling,” Merryman recalled. “Dress rehearsals refined the show, and the end result was elevated 65

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camera capture that went beyond run-of-the-mill ceremony coverage.”

The setup included a total of 17 Sony VENICE Digital Cinema Cameras, three Agiko dollies, two remote heads and eight RF cameras. “Half of the cameras were manned by operators and half were operated remotely. The cinematic cameras and multi camera control gave the capture an elevated look,” Merryman explained.

“There were 50 palettes and 20 tonnes of cargo overall – much of which went to our post facilities. We built a two-storey, 15m by 25m broadcast palace offsite that hosted eight edit suites, six VFX suites, and two colour suites to enhance the content,” he added. “Large servers made that computing power possible, and we also had two galleries – one live and one with a built-in delay to preview shots of the VIP audience. Our Tech Director, Bolke Lautier, oversaw the project.”

Reflecting on the project, Merryman was pleased to overcome the challenge of operating in a unique venue with little room for cameras and equipment. “We were happy to deliver on our promises, and to employ our unique setup with the creative team to refine the live show in advance and elevate the camera capture,” he stated. “Another source of pride was the quality Middle East

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coverage we got of world leaders without it feeling invasive or interfering with the show.”

‘A fantastic design’ Presented with the unique challenge of designing a primary loudspeaker system that rotated around the audience, with a live 94-piece orchestra, Emmy award-winning audio-visual design consultancy Auditoria had to draw upon the vast knowledge, experience, and creativity of its team to meet the testing brief. Catching up with TPiMEA after the show, Auditoria Consultant Ethan Curry, who heads the company’s Dubai team and was the lead designer on the project, explained how they met the challenge.

“We used the L-Acoustics L-ISA platform in an innovative way to counteract the rotation and maintain the focal centre for the system, as well as to creatively mix,” he began, describing the setup, which comprised an L-ISA arrangement of 23 arrays distributed around the top of the revolving stage, each consisting of four elements of Kara II. “We used a central scene of 13 of the 23 arrays focused to the centre of the visual scene based on the position of the revolving stage throughout the show,” he explained, adding that all Kara II arrays were powered in individual

circuits by LA7.16i amplifiers. A nearfield system covering all areas of the seated audience was also deployed, consisting of 340 L-Acoustics 5XT, 24 X4i, and 24 Syva Low. Meanwhile a pointsource end-fire subwoofer array consisting of 12 KS28, arranged in three end-firing stacks of four high was used for low-frequency extension.

A pair of dual redundant DiGiCo Quantum 7 consoles were specified for the remote FOH control room, with a scaled nearfield monitoring system to mimic the 13-wide L-ISA scene, the nearfield systems, as well as the subwoofers of the venue.

“We used the L-Acoustics L-ISA platform in two ways – firstly to creatively mix, as though with a more typical L-ISA arrangement, and secondly to counteract the physical rotation of the revolving stage and loudspeakers,” Curry revealed. “The intention being that the audience hear the equivalent to the static 13-wide scene as we hear it in the control room, rather than the sound source shifting as the revolve rotates.”

An L-ISA Processor II was used as the first spatial processor in the chain to mix and position objects with a static 13-wide scene. “This was based on the maximum number of arrays, which suitably covered the audience area at one time,” Curry noted. “We then fed the outputs of

the first processor through a secondary L-ISA Processor, which counter-rotated the scene based on the pre-programmed automation cues used for the stage rotation. The process was incredibly effective, and reliably locked the centre of the scene to the front centre of the audience, allowing us to choose when and where to position objects as we normally would with a conventional loudspeaker arrangement.”

A total of two L-ISA Processor II, and two L-ISA Processor I were deployed in the dual redundant system, while a dual redundant Ovation replay system was in place for music playback and as the timecode source for all departments. The remaining parts of the audio control systems were also designed and deployed in a dualredundant fashion to preserve the expected redundancy standards for this type of worldclass event.

The orchestra mix was handled by a dual engine DiGiCo Quantum 7 console, which mixed stems to deliver to FOH and broadcast as well as all monitoring for the 94-piece orchestra, made up of the Royal Philharmonic Orchestra, Arabic soloists and Arabic strings.

“A full replica of the orchestra control system, monitoring, and microphones was installed in the 1:1 rehearsal venue to assist in orchestra

rehearsals and to prepare monitoring mixes and stems for the venue,” Curry added.

Looking back on the project, Curry said: “I was pleased with the way our audio design allowed us to create an engaging and immersive mix, as well as reinforcing the creative storytelling by shifting the focus to specific positions or encouraging the audience to look to the extremities of the visual scene at key moments. Coupled with a beautiful score and a talented music team, it was a greatsounding show.”

Tasked with preparing, installing, and maintaining the audio system was Agora. Senior Project Manager Matt Oliver described the company’s process. “We received a very detailed package from Auditoria including schematics, and network infrastructure,” he explained. “From this point, I worked with our Head of Audio, Edoardo Michelori, to plan how best to package the equipment based on our site visits and space restrictions; everything is custom built to our client’s needs. Once we knew how it was going to be packaged, Edo created a network schedule ensuring all items have the correct IP address.

Then the team started to prepare the racks.”

Once onsite, the Agora crew moved in teams to deploy the various elements – some working on a network with others on PA and control

systems. “The entire system was built in the warehouse and tested for all possible failures, ensuring the load-in, rehearsal and show could run smoothly,” Oliver recalled.

Aside from some heavy rain in the build-up to the show requiring the kit to be covered, Oliver was pleased to report that the project was generally smooth. “The positioning of some of the technology provided a challenge, but People have a great team that helped facilitate the solutions to get the kit where it was needed,” Oliver stated, revealing that one such solution involved using a crane to move the technology on top of the revolve and inside the seating area.

Oliver was particularly pleased with the nearfields built into the audience rows. “The installation of these elements is a long process, but they give the listener a great experience,” he stated. He was also happy with the L-ISA counter revolve. “It’s a fantastic design from Auditoria and it sounded amazing,” he reflected. “I’m always happy with how the team works; everyone understands their role, and we were all very proud to be a part of the project.”

Clair Global supplied and installed an extensive show communications network for the production as well as sitewide audio for the arrival of guests and VIPs. The show comms 67

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supply featured a 500 Motorola R7 two-way radio system, including 28 interfaced channels.

All systems were run and interfaced using four Riedel 1024 digital matrixes as well as two Artist-64 units, while the company programmed and managed more than 70 wired panels across the site and deployed 100 Riedel Bolero Units to provide full wireless site coverage.

Clair Global also supplied the show IPTV cameras and external viewers, 300 Riedel FMR3000 FM units for the FM broadcast, a Riedel Mediornet system to transport ethernet and IPTV files across the site, as well as providing all RF and spectrum management and licencing, working closely with TDRA and COP28 requirements.

“We have a close relationship with Riedel and use their equipment exclusively in the Middle East,” stated Clair Global Middle East CEO, Andy Jackson. “Our initial purchase was used for National Day 2023 in UAE Union Day and since then we have continued to invest in Mediornet as part of our inventory,” he commented noting that the company has also invested in over 3,000 Motorola R7 units in the past 15 months.

“As with all these types of projects, there will always be some changes to the original brief; our job is to make sure we can react effectively,” Jackson stated, reflecting on the biggest challenges of the project. “Our team – led by Rob Middle East

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Turner and I – are veterans of the past 10 National Day projects, so in that time, we have learned to adapt and advise our clients wherever possible.

I was very pleased with how the team worked together. This year we added a couple of Riedel techs to our team, and it brought out the best in technical skills from all sides. It’s great to see companies like Clair Global embracing comms and IT as a core part of the business.”

‘We really nailed it this year’ Another company that was involved early in the project was Pitchblack, which was brought onboard to handle production rigging as well as rigging for the aerialist performers. “We worked with a creative rigger before taking that concept, developing it, and running with it during rehearsals and the show,” explained Pitchblack’s Technical Project Director, Mark Hammond.

As well as “the sheer size and scale” of the revolve providing a challenge, the fact that it was a dynamic moving piece also meant that this was far from a simple task. “Trying to fix anything to something that rotates to the accuracy required is always going to be tricky, and we had to think outside the box with some of the design work and bracketry,” he recalled. “There was an element of trial and error involved because it’s a one-off structure and even with the most

accurate drawings, there are always a few curveballs once you get on site.

“It is a challenge, but we wouldn’t want it any other way,” added Hammond, reflecting on the nature of the work. “We’re increasingly finding ourselves involved in the conceptual stages of projects, which is where we can bring creative ideas and add value.”

Pitchblack is one of the many homegrown companies that have become long-term partners and regular suppliers of People. “We have built some fantastic, long-term, collaborative relationships with many of the brilliant companies here in the UAE,” stated People’s Jensen, commenting on the level of the events industry in the country.

“Any event of this scale must go through a rigorous procurement process and the fact that so many homegrown companies are able to deliver to the required standard time after time bodes well for the future of the industry here in the UAE.” The Organising Committee of the 52nd UAE Union Day Celebrations comprised: Creative Executive Producer, Rawdha Al Qubasi; Artistic Director, Ayesha Hadher; Head of Operations, Butti Al Muhairi; Head of Strategy, Eisa Alsubousi; and Head of Content and Research, Rauda Alfalasi. Working alongside Creative Director

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and Designer Es Devlin were Co-Show Directors Francisco Negrin and Gavin Roberts; Choreographers Leigh-Anne Vizer and Sadeck Berrabah; as well as Musicians and Composers, Mohammed Al Ahmad, MUSICOM Music and Sound design, Polyphonia, Ali Al Akawar, and Dom Jones.

With two VIP shows including an opening night on 2 December that welcomed several world leaders who were in the UAE to take part in COP28, the show was run a further eight times in front of some 1,725 visitors who were lucky enough to secure tickets.

“It takes a lot of energy and momentum from the whole team to get up to opening night, then to be able to maintain that for the subsequent shows is not easy,” Jensen reflected. “However, along with our environmental sustainability goals, we also put a lot of focus on the health and wellbeing of the event team. Physical and mental

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burnout can be a big problem if workloads aren’t managed properly, but we really nailed it this year, and I think that was evident in the morale and energy of the team throughout.”

This latest successful project delivery comes off the back of a breakthrough year for People that saw the creation of People&Co, which encompasses the three brands: People, Spaces+Places, and Spectaculars – the latter of which is geared towards delivering large-scale ceremonies and shows all over the world. “ We are really excited,” Jensen said of the company’s direction. “The response we have had so far has been incredibly positive. We believe that we have a lot to contribute in the way we approach these projects from a purposedriven perspective, and we can leave something behind anywhere we work that can bring positive change. From our work on the Opening Ceremony of the FIFA Women’s World Cup in

New Zealand to this incredible show UAE Union Day, we pride ourselves on building communities, championing sustainability, and leaving an impact that lasts well after the show has finished.”

Photos: People www.experiencesbypeople.com www.spectacularsbypeople.com www.agora.ae www.allaith.com www.auditoria.systems www.clairglobal.com www.ct-group.com www.doneanddusted.com www.encoreglobal.com www.flowsolutions.me www.pitchblack.ae www.stageone.co.uk www.thebulb.eco www.thevkgroup.com www.wonder.co.uk

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Red Sea International Film Festival 2023 Featuring 130 films from 77 countries, over 10 days, Red Sea International Film Festival welcomes the world to Saudi Arabia to celebrate the best of cinema.

TPiMEA reports from the red carpet…

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Hosted by the Red Sea Film Foundation, an independent, non-profit organisation created to support the film industry in Saudi Arabia, Red Sea International Film Festival was a 10-day film extravaganza, welcoming some of the world’s biggest stars – from Johnny Depp and Will Smith to Halle Berry and Gwyneth Paltrow – to Jeddah’s Ritz Carlton Hotel.

With the festival now into its third year, the remit for Director of Festival Operations, Matthias Maurer, was to bring the event to “a whole new level”. He commented: “As well as creating a showpiece event that supports the rapidly growing film industry in Saudi Arabia, the mandate for my team and I was to create a structure and legacy that will last long after the festival closes its doors, putting processes in place to do a higher proportion of our work in house in the future.”

Aiding Maurer on the project was his longtime friend and colleague, Martin Lauth, with the pair working together closely on all aspects of the festival production. “We were certainly not silent clients,” Lauth laughed. “We were both active in co-ordinating suppliers, and I went in-depth on a technical level.”

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structures in buildings and locations that were not purpose-built for events on this scale. “It was a blank canvas that needed to be filled,” he said, describing the Ritz-Carlton. “We were thrown into the world of designs and set piece building and a strong vision was required.”

The festival utilised several areas of the hotel, with a massive congress wing set across two floors and featuring hundreds of meeting rooms, media facilities, a Festival Garden area, multiple small screening rooms, a red carpet arrival area, and a 1,300-seat main Gala Theatre just some of the facilities provided – all of which required significant technical and scenic overlay.

“We were originally looking for an agency to take on the entire scope, but given the amount of work required, it was later decided to split the project, with us handling transport, security and IT requirements directly,” Maurer revealed, recalling the chosen suppliers. “The main tender for the Ritz-Carlton – including the opening and closing ceremonies and the Festival Garden – went to productionglue, while Richard Attias & Associates oversaw the Souk area, which was a massive delivery in tradeshow construction.”

This year was the first that productionglue – a TAIT company – had been the production partner for the event and, according to Matt

Richman, Vice President of Global Projects and Team Lead, the speed at which the team was able to bring the project together was the biggest achievement. “Like everything in the region, the project was subject to a condensed time frame, under high pressure,” he told TPiMEA. “The whole thing from our perspective was pulled together in just 60 days, which is incredibly tight for a festival on this scale.”

With no time to lose, as soon as they had the green light, productionglue immediately sent a team to Jeddah and the project was up and running. “We ramped up quickly, building the team which by the end reached more than 500 individuals, including management and execution teams and technical operators,” Richman recalled. “It was a huge team effort, and everyone came together to make it happen.”

‘It worked beautifully’ One of productionglue’s first orders of business was to partner with Artists in Motion (AIM) on the creative for both the Opening and Closing Ceremonies, as well as the branding used within and around the event site. Both ceremonies as well as the biggest film screenings took place in the Gala Theatre, which was created within the hotel’s main auditorium and had all the

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features of a full-scale theatrical show. “We built a proscenium arch, we had automation, lighting, sound and even a completely custom-made 20m by 8.5m movie screen created especially for the festival,” Richman described.

AIM’s Greg Kershaw explained the concept behind the design of the space. “The thing about a film festival is that invariably there is bound to be a giant white screen front and centre – that’s what everybody has come for,” he began.

“However, what we wanted to do was create a space that hid the projection surface and could therefore have a reveal moment. Not only did this make the screen feel special rather than it just being there all the time, but it also aided in the creative concept, which was all about having content come out of a black visual field.”

This reveal moment was made possible

by Stage One, which deployed its QMotion automation platform and operating team to control the gliding movement of the four digital screens that formed part of the stage set.

“The tracking of the screens facilitated flexibility in their configuration dependent on the requirements of the content on display, whether used as individual screens or as a collective group. It was a nice-looking piece; it worked beautifully, and the content displayed on Middle East

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the screen was great,” commented Stage One Managing Director, Tim Leigh.

“Automation is becoming more and more popular in Saudi Arabia and that’s great to see,” he added. “The hire kit was supplied from our rental inventory held by Stage One Creative FZ, which is warehoused just outside Abu Dhabi.

Having a large stock of automation kit in the region allowed us to respond quickly to the project in short order.”

Also playing an important part in the aesthetic of the Gala Theatre was ShowTex Middle East, which provided a combination of flame-retardant PolyStretch P8, Molton CS and Blockout fabrics for the proscenium, borders, legs, and FOH curtains, which ran on a DMX-controlled ChainTrack. The company also supplied the aluminium frames for the cinemas at the Ritz Carlton as well as the projection surface for the Souk cinema.

Romeo Sale, Regional Sales Manager of KSA/ Qatar, talked through the material choices: “P8 was chosen by AIM after they tested it in their Europe office and really liked how the material performed during projection,” he explained.

“Molton CS was chosen for its deep, dark black elegance and its inherent flame retardancy, while Blockout was used for masking at the back to

hide the scaff structure and technical equipment even when spotlights are lit. We’re proud of the stage setup – the result was quite astonishing.”

With the hotel’s auditorium lacking the rigging capacity to support a large-scale production of this nature, it was quickly apparent that a considerable build would be required, and Dubai-based Pitchblack was the natural choice, with the company providing a full production rigging package. “We got onboard early in the project and worked with the technical team on developing the concept,” said Technical Project Director, Mark Hammond. “The venue had no rigging points in the roof, so we helped design a large ground-supported structure made from super truss to support the entire production.”

With a tight schedule and equipment being shipped from Dubai, there was little room for error when it came to installation, and the task was made even more challenging by the absence of any heavy machinery or plant. “No cranes, cherry pickers – nothing!” Hammond exclaimed. “It required a lot of creativity to get the huge 30m spans of super truss in the air without any machinery.”

The success of the project from Hammond’s point of view was all in the preparation. “We spent many hours and late nights drawing this project,

right down to the fine details such as how many wood packers would be required to ensure that the out-riggers didn’t clash,” he recalled. “It was all worth it in the end, as we built on time, exactly as planned and everything went very smoothly.”

‘A 24-hour work cycle’ Creative Technology Middle East (CTME) supplied a comprehensive video solution inside the auditorium, as well as on the external façade of the building, the Souk Cinema, and the Festival Garden. “Our process from early planning to load-in and show days was an exhilarating journey marked by seamless collaboration and meticulous planning,” stated Project Manager, Croft Clinton.

“We aligned closely with productionglue’s team during pre-production to ensure a smooth transition into the event,” Clinton recalled.

“Despite the massive scale of the venue, the support on the ground from productionglue made the load-in, setup, and programming processes remarkably efficient.” The PM added that CTME’s strong pre-production phase, which included projection studies and technical drawings, was key to the success of the project.

CTME supplied a sophisticated setup to deliver an immersive cinematic experience in

the main auditorium. Three triple-stacked sets of Panasonic PT-RQ35K projectors were positioned on the balcony to project onto the proscenium, while a further four were located on projector towers on each side of the stage.

The four 3m by 5m LED screens were formed using INFiLED AR 3.9mm LED, with content controlled using two Disguise vx 4 media servers and Resolume used for pre-rolls, routed through a Barco E2 screen management system.

“We pushed a lot of light onto the black surface to achieve the desired results,” commented AIM’s Kershaw, reflecting on the chosen projection solution for the project. “We worked closely with CTME, utilising the disguise models to ensure that we had enough coverage, and the projection would be bright enough on the black proscenium.”

Kershaw explained how the AIM team worked around the clock to make sure the content was on point. “AIM produced a brand guideline for the whole festival and that guideline was feathered throughout the on-screen and projected content,” he revealed.

“The content was made in multiple layers and was a collaborative effort between graphic artists on site as well as in the studio in Sydney. Having these two locations working in tandem meant we

had a 24-hour work cycle – something that came in handy given the tight time frame.”

Elsewhere, the 185m façade of the Ritz Carlton was transformed into a dazzling display, which signalled to everyone passing down Jeddah Corniche that something extremely special was happening inside. The impressive effect was achieved using 16 Panasonic PT-RQ35K projectors with each on a separate projection tower and content again run through two Disguise vx 4 media servers.

The more intimate setting of the Souk Cinema required two PT-RQ25K projectors as well as a Barco PDS-4K for seamless switching, two laptops for PPT and Resolume for pre-roll, graphics and videos.

Meanwhile the Festival Garden setup included an 8.5m by 5m INFiLED ART4.6 LED screen, with content managed by a Barco S3 screen management system and Resolume server and a Barco imagePRO-4K at FOH adding a layer of flexibility for house and touring VJs. “One of our biggest challenges was the time constraints in pre-production, especially when it came to collating the necessary kit and crew. However, our team’s dedication and expertise allowed us to overcome this challenge impeccably,” reflected Croft. “I’m grateful for 77

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the amazing experience of working with the productionglue team. Their exceptional work ethic and organisational skills made the entire process very enjoyable and rewarding.”

Lighting was designed by Woodroffe Bassett Design, with Adam Bassett overseeing the project personally.

Supplied by PRG with Keith Duncan taking on the role of Lighting Crew Chief, the rig featured more than 200 moving lights, including Robe BMFLs, Ayrton Dominos, and GLP impression X4 Bars, with an MA Lighting grandMA3 console running in MA2 mode used for control.

“One of the biggest concerns for us throughout the design and load-in process was maintaining good sightlines and reducing the amount of restricted seating,” Kershaw recalled.

“We spent a lot of time working on projector and lighting placement and we made sure that the viewer experience was as good as it could possibly be.”

‘Teamwork and collaboration’ The audio system was designed by Scott Willsallen of Auditoria and delivered by Clair Global. The Gala Theatre supply incorporated two separate L-Acoustics systems – a 5.1 system for the cinema and a more conventional Middle East

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system for Opening and Closing Ceremonies.

“Both had to be operational simultaneously and interconnected as the programme material for the ceremonies involved elements of the cinema system,” explained Clair Global UAE’s Al Woods.

The ceremony system comprised arrays of nine KIVA II per side flown behind the proscenium, fills of two SYVA and two X12 and LA12X amplification throughout.

The cinema system meanwhile was made up of a flown single L2D behind the screen, four KS28 subs, six X12 in the stalls, under balcony delays of two flown KIVA II and under balcony rears of six 5XT, balcony rears of four X12 and, again, LA12X amplification throughout.

Two DiGiCo SD12 96 digital mixing consoles ran in parallel to control the ceremony and cinema mixes, while a dual redundant QLab Mac replay system handled playback and timecode generation. “Playback ran digitally over MADI BNC directly into the DiGiCo system,” Woods said.

“Once programmed, our QLab session ran the entire show using MIDI/LTC to trigger cues for all departments. This equipment package was critical to the smooth running of the show.”

A comprehensive MIDI distribution system was also deployed throughout the Gala Theatre, enabling feeds to lighting and video. “We had

to overcome transmitting MIDI in cases over 80m,” Woods revealed. “This was done utilising Ferrofish and iConnectivity devices flown specifically from the UK.” A 16-channel Shure Axient Digital Wireless system combined with DPA 4088 headsets and KSM 9 handheld mics formed the backbone for the microphone package, with Shure PSM 1000 IEMs as well as lectern mics in the form of Schoeps MK 4 and RC-1200 Active Extension tubes – all with plug-in AD3 transmitters.

Clair Global also supplied a 5.1 surround system for the Souk Cinema, as well as an extensive PA system for the Festival Garden, with flown left and right hangs of L-Acoustics L2, L2D and Kara, as well as ground stacked KS28 subs, Kara II front fills, and LA7.16 and LA 12X amplification bringing the party to the main stage.

The Festival Garden’s purpose-built VIP section meanwhile was covered by 5XTs mounted discreetly into the structure as well as SB18s, X12 perimeter fills and LA12X amplification.

With the final systems signed off just a few weeks before load-in, Clair Global called upon its international support network to help fulfil the project requirements. “The whole project was a big job, and while we had equipment in KSA, more was needed to fulfil the exact brief,”

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revealed Clair Global KSA’s Stuart Wright. “To ensure delivery times were met, most systems were built and tested in the Dubai shop, overseen

by Al Woods. To ensure continuity of delivery, we decided to build the Gala Theatre control, playback, MIDI distribution, timecode distribution and RF system out of the London office. Josh Thomas led operations from the UK shop and put together a turnkey package to service this area.”

The Festival Garden stage control package and monitor system was built in Saudi Arabia and overseen by Wright. “This worked well, and the components from each territory reached the Jeddah site in good time to deliver the project,” he recalled.

“The L-Acoustics coverage was exceptional both in the Gala Theatre and Festival Garden.

The teamwork and collaboration between the freelance crew and Clair employees was amazing. The sound in the Gala Theatre was excellent, and the cinema team who commissioned the system from RSIFF were extremely complimentary. They even reported that it may be the best cinema sound they ever heard outside of a cinema.”

Communications for the project meanwhile were handled by Riedel, which provided an extensive system to cover the expansive site.

‘A great statement’ The broadcast was handled by Seven Production – with the company supplying a team of 40 crew, a 4K OB Van to cover all the action at the red carpet and the Red Sea Gala Theatre, plus an additional PPU with a camera setup covering the Red Sea Souk and ENG cameras for the press releases, interviews, and conference room.

“We have been working on the Red Sea Film Festival since 2019 when it was first launched, so we are familiar with the challenges it brings,” explained Seven Production’s Business Development Director, Pedro Rosa. “This festival aims to contribute to the growth of the film Middle East

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industry in the region and provide a platform for filmmakers to showcase their work and is attended by many Hollywood figures, which means we are catering for a very knowledgeable audience, and we have to be on top of our game.”

With daily live productions broadcasted worldwide throughout the festival, the project was an illustration of the company’s capabilities.

“We pride ourselves on delivering fantastic, world-class productions using the equipment that we have in-house,” Rosa said. “We believe this is a great statement about the capacity and the quality that we hold and that sets us apart from the competition in the Middle East.”

For productionglue’s Richman, the project was a triumph of teamwork. “We had a great mix of suppliers both regional and international, and I’m proud of what the whole team accomplished at this year’s festival,” he reflected. “Saudi Arabia has the appetite to expand and continue to do exciting and new things, so it’s exciting for us to be a part of that.”

That sentiment was echoed by the Red Sea Film Festival team. “We had a fantastic crew, great technical managers, and we were privileged to work with a group of friends, which made the whole project enjoyable,” Maurer commented in closing.

“The local team really stepped up this year and delivered to an extremely high standard. This will lay the groundwork for future editions in the years to come.”

Photos: Red Sea International Film Festival www.redseafilmfest.com www.7production.net www.artistsinmotion.co www.clairglobal.com www.ct-group.com www.pitchblack.ae www.productionglue.com www.showtex.com www.stageone.co.uk www.woodroffebassett.com

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INTERVIEW

Dan Hadley Lighting Designer, Foo Fighters Welcoming TPiMEA to Foo Fighters’ headline show at the Yasalam After-Race Concerts for the Formula 1 Abu Dhabi Grand Prix, the band’s long-serving Lighting Designer discusses his design inspirations and looks ahead to the 2024 stadium run…

As anyone who has seen a Foo Fighters show will know, Dave Grohl has two catchphrases that tend to crop up multiple times during every performance. While one includes an expletive that we couldn’t possibly print in TPiMEA, the other is a callout to the band’s long-time Lighting Designer, Dan Hadley. “It’s important to Dave that he can see the audience throughout the show and that means that ‘light ’em up, Dan’ is a common call throughout the night,” Hadley commented, joking that despite this callout being such a regular feature of the shows, the band’s touring rig doesn’t currently have any blinders. “We’re going to add some for 2024,” he added.

With a total of 15 GRAMMY Awards including five for Best Rock Album since their 1995 debut, Foo Fighters are established rock ’n’ roll royalty. In March 2022, they suffered the tragic loss of drummer and beloved band member Taylor Hawkins, forcing them to cancel all performances for the remainder of the year. Following the surprise release of their new album But Here We Are in June 2023, the band returned to the road with tour dates in North America and festival appearances all around the world, including a headline performance at the Yasalam After-Race Concerts for the Formula 1 Abu Dhabi Grand Prix.

Speaking to TPiMEA as doors opened in Abu Dhabi, Hadley – who has been with the band since 2010 – shared his inspirations and process behind the latest show design. “For this latest tour, Dave was keen to go with a more content-driven, cinematic style,” he revealed, going on to explain his views on video content. “I don’t like to force a narrative on people, because people take different meanings from songs, and it’s personal to them. I also don’t want to see stuff like fire, water, skulls, or generic raindrops on a windshield on a lonely road – that’s boring!”

A key partner in achieving this vision is Kerstin Hovland of Los Angeles-based creative studio, Electronic Countermeasures, who also acted as Screens Producer for the production. “We’ve worked with Kerstin and Emery Martin of the Electronic Countermeasures team for a long time now and they are fantastic,” Hadley reported.

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With the Electronic Countermeasures team favouring manual methods of filming then compositing rather than relying on computer-generated animation, their process aligns with Hadley’s preferred design methods. “I love how they work because that’s how I typically start my lighting designs – in my garage with a scale model of the stage and a few bits of paper. It allows me to play with things spatially,” he explained. “I’m going to spend enough time in front of a screen later, so I much prefer to start the process offline where there are way fewer distractions.”

Also instrumental in the on-screen content was Montreal-based Lüz Studio, which was behind a series of striking virtual scenic elements that were programmed with the show lighting to produce a realistic three-dimensional effect. “I’d seen their work on a Billy Idol residency in Vegas and was really impressed with how smart it was,” Hadley said. “It’s a static scene where we can control the volumetric lighting in Disguise. It’s so malleable and customisable and allows us to deliver a very cool effect.”

The ultra-realistic 3D scenes include a UFO and a replica of the original van that the Foos used for their first tour in 1995 being hung in the air by a junkyard claw. “The content is so effective, you could easily be fooled into thinking that there is actually a van hanging there,” Hadley stated.

With the Foos renowned for their mixed-up setlists, extended intro and outro jamming sessions, and off-the-cuff covers, Hadley pinpointed the importance of versatility in his workflow, with the production having the ability to adapt at a moment’s notice.

“The band is always changing things – there’s no track, they love to jam, go into random songs in the middle of songs and then back into what they were doing. They can go anywhere, and they often do,” he laughed. “We don’t typically get a setlist until changeover, so, having a system like this, which is so versatile, is way better than having a

click or timeline that you’re beholden to. It means we can busk the video as well as the lighting, which is important for a show like this where anything can happen.”

For the Abu Dhabi performance, the production utilised the festival upstage 17m by 6m video wall as well as the two 11m by 8m IMAG screens, built from PRG’s Atlas-X LED – INFiLED AR4 mounted in 1m by 1m touring frames designed and custom built by PRG. This was augmented by the addition of 27 ROE Visual CB5 full size tiles, which were hung landscape in front of the video wall to create an ‘exploded screen’ effect. “It’s a nice way of using the local infrastructure but putting our own spin on it,” Hadley added, commenting on the extra video elements.

The festival lighting rig consisted mainly of PRG ME’s newly acquired stock, including Ayrton Domino S, Argo 6 FX, Cobra and GLP JDC1, and Hadley once again practiced restraint when it came to requesting changes to fit Foo Fighters’ usual festival setup.

“The event here was very kind in moving some fixtures around for us within the rig. We sent them a plot early on and they took that into consideration in the design phase,” he recalled. “We don’t roll into festivals too strong. Our design starts from a place of compromise in that we try to fit into festivals without hamstringing the other acts; we want everybody to have a good time anywhere we play.”

Running through a few of his favourite fixtures in the rig, Hadley reserved special commendation for the Martin MAC Ultra – 24 of which were in the air, with a further nine on the floor, providing the entire profile element. “They are awesome – one of the best profiles I have ever used,” Hadley praised. “They are bright, crisp, fast, they have an even field, and they hit every mark.”

Hadley also utilised 60 Martin MAC Aura wash fixtures to echo the exploding video wall in the air, starting heavy on the upstage and breaking up towards downstage. The 83

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LD explained how he came up with an ingenious solution to make the design more conducive to a festival environment.

“I didn’t want to make our crew go up there with three dozen scaff pipes all at different angles. So, I turned to the Claypaky Panify,” he revealed. “I put a 5ft pipe on each Panify and hung three Auras from each. We can keep them all straight, fly the truss up through the festival trusses, then twist them and have them broken up.” This solution allowed Hadley to produce a range of looks. “We can go wild and do the full spin thing, or the prettier part is when we do slow movements and offset the pan of the fixtures so the beams move but stay perpendicular to the downstage edge.”

Also in the rig is the GLP impression FR10 Bar – a fixture that Hadley is “really fond of” – plus, the ubiquitous impression X4 Bar. “They’re amazing, beautiful, useful, versatile, and you can put them anywhere,” he commented.

The Elation KL PAR FC, which the LD first deployed on the Taylor Hawkins tribute shows, is another fixture that Hadley is impressed with. “They’re great,” he stated.

“They provide great colour, and they have nice interchangeable lenses. There’s no electronic zoom or anything but they don’t need it. We have them behind the video wall blasting through.” The Elation Strike 1 also features on the rig, and Hadley describes it as “a wonderful way to get away from using molefays”.

Hadley’s control solution of choice is an MA Lighting grandMA3, which is still running in MA2 mode for the time being. “We haven’t made the switch yet,” he said of the software. “We’ve been dipping into it a bit, but I didn’t want to go in half-baked. The plan is to change to MA3 for the stadium shows in 2024.”

As far as special effects go, Hadley described them matter-of-factly as “not our thing”. He added: “There are enough other people who do pyro, cryo and confetti and they are a much better fit for their bands. Trying to chase that wouldn’t make sense for us.”

Looking ahead to the 2024 stadium tour, Hadley is excited to develop his design to make the most of the greater freedom this will bring. “Now we’re heading into a stadium run with only a few festivals, so I’m going to go back and make sure that I didn’t leave any significant creative options on the table and make sure that we’re not living in the shadow of that initial compromise. I’m looking forward to freeing up the design a little bit, while still figuring out how to put the new design into the festivals that we’re booked for,” he stated. “Every single show we do could be someone’s first time seeing the band and we want to make sure we’re the best version of ourselves and put everything into it every night. There’s no slacking off in this camp!”

Photos: Martin, TPiMEA www.foofighters.com Middle East

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IN PROFILE

JAM Training As JAM Event Services launches a new training offering with an extensive range of courses delivered in both English and Arabic, TPiMEA catches up with Managing Director James Mistry to find out more…

With the Middle East’s live events industry developing faster than ever before, training is becoming increasingly important to ensure that professionals in the region are equipped with the skills and knowledge to keep pace. Aiming to cater to this demand is JAM Training, which provides a range of general and event-specific courses available in the GCC for the first time, catering to both individuals and organisations.

Launched in February 2024 by JAM Event Services, JAM Training is the third arm of the growing JAM empire, which started in the UK in 2014 before opening its Dubai HQ in 2017 and its Saudi Arabia office in 2021.

“Training is something that fits into the larger business perfectly,” began JAM Managing Middle East

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Director, James Mistry, explaining how the company started with JAM Safety before launching JAM People and now JAM Training.

“We’ve been working on developing our training offering for a long time, having seen a clear need in the industry.”

The JAM Training vision is to offer a range of off-the-shelf, accredited courses that sit next to a bespoke package of courses that are customdesigned and delivered by the JAM Training team. “We’ve taken the same approach as we have used with the other business units, which involves partnering with other selected individuals and organisations that share our values,” Mistry revealed, citing the examples of NEBOSH and Highfield International as two such organisations.

“We’ve also identified several gaps in the market, which we aim to fill with our bespoke courses.”

JAM Training caters to both industry newcomers and those who are more experienced and looking to take on some professional development. “The industry is changing all the time and professional development is becoming increasingly important for those looking to stay on top of their game,” Mistry stated. “At the same time, if we take the example of Saudi Arabia, where we get hundreds of job applications every month from young people looking to get into the industry but who don’t know where to start, there’s a massive opportunity there to help this budding young workforce upskill and break into the industry. This

JAM Training offers a range of courses in both English and Arabic, including health and safety, crowd management, crowd science, and many more.

also aligns with the Saudi Vision 2030 in investing in the education of Saudi citizens and growing the employment rate.”

With Saudi Arabia a key target market for JAM Training, Mistry was pleased to report that 90% of the courses will be offered in both English and Arabic. “For a predominantly Arabic-speaking country, Saudi had very few industry-specific training courses available in Arabic,” Mistry recalled. “This is a key point for us. If we’re not offering our courses in a language that most people in the country understand, then we are missing the mark.”

JAM Training Lead Trainer Julien Saade speaks both English and Arabic fluently and has been in the world of training for many years.

Coming from working at some of the largest event production companies in KSA and UAE before moving into the training world, Saade is well placed to head up delivery.

The company has also partnered with Dr Keith Still – widely recognised as the ‘Godfather of Crowd Science’, who played a pivotal role serving as the Lead Advisor to the Kingdom of Saudi Arabian government for the redesign and upgrading of the Jamaraat bridge at Hajj for 11 years. “To work with someone with 30

years of Crowd Management experience, who understands the local culture and to be able to add our own local understanding and deliver his courses in Arabic is a huge win for us,” Mistry commented. “It’s another step towards delivering what we set out to do, which is having a genuine impact and making change.”

JAM will offer accredited Level 3 and Level 5 Crowd Management and Crowd Science courses face to face, online and via self-paced e-learning.

Mistry said: “To be able to learn at your own pace online for these crowd courses is a massive step in making accredited education of crowd management accessible for all.”

With training centres in Dubai, Riyadh, Jeddah and Neom as well as various online and hybrid training offerings, there are no shortage of options for those looking to boost their skillset.

“We live and breathe the events industry and we know and understand what is needed and where the gaps are,” Mistry stated.

“We’re offering courses in sustainability and mental health – both of which have been attracting a lot of interest. Then there’s our off-the-shelf offerings in partnership with NEBOSH delivering the IGC, as well as Highfield International such as first aid and fire safety.

It’s great to have the buy-in of these large international organisations.”

For Mistry, it’s vital that the training is easily accessible. “We wanted to create a platform that is open to a wide spectrum of people,” he explained. “We don’t want geography or timings to be something that gets in the way of people taking part in the courses, so we offer faceto-face, hybrid and virtual options. We’re also developing more e-learning opportunities so people can log on at any time of the day, pick a course and start learning. It’s all about giving options to increase accessibility and help people further their careers.”

Mistry closed by explaining how JAM Training feeds into the ecosystem of the wider JAM Group, offering a “full 360° cycle” that could see participants gain not only new knowledge but also put them on the road to gainful employment.

“We see JAM Training as the prequel to JAM Safety and JAM People,” he commented.

“Not only can people get educated and train with us, but they can also get experience with us and ultimately get jobs within the industry, all through the JAM ecosystem.”

Photos: JAM Training www.jamtrainingservices.com 87

Middle East

IN PROFILE

High and Wired KSA TECS Event Services launches High and Wired Saudi Arabia, bringing everything from rigging and automation, to ziplines and human slingshots to live events professionals and adrenaline junkies throughout the Kingdom.

If you attended MDLBEAST Soundstorm in December, there’s a good chance that you will have noticed the unusual sight of a certain superstar DJ hurtling along a zipline above the festival site. “Having Steve Aoki ride the line and pose for a few photos with the crew was a surreal moment,” recalled Shane Manning, Managing Director of High and Wired – the company behind the installation. “We have been back and forth with the MDLBEAST management team in the USA and UK on this zipline concept for a few years, so to see it come to fruition at one of the largest festivals in the world was amazing.”

After launching event rigging and automation company TECS Event Services in Dubai in 2012, Manning founded sister company High and Wired – which focuses on adrenaline-fuelled activities such as ziplines, bungees and human slingshots – some four years later.

Now, with the explosion of the Saudi Arabia market, High and Wired has been given a dedicated KSA branch, which combines both the live event rigging and extreme aerial adventure offerings all under one roof.

With the new branch fully licensed and operational, the target for Manning is to bring it to the same level as its Dubai counterpart as soon as possible. “The goal is to have similar stock levels of not only generic trussing, rigging, and accessories, but also automation and performer flying equipment such as high-speed winches, automated hoists, and trolleys,” he stated.

Manning believes that by being in Saudi Arabia with not only kit but also staff, High and Wired KSA will be able to offer a smoother and more cost-efficient service to its Saudi clients.

“It’s no secret that it is becoming more and more cost prohibitive to truck goods over the border from the UAE,” he reasoned. “Plus, having people in the country will save the cost of putting people on planes and in hotels every few weeks – not to mention the environmental impact.”

The KSA launch comes hot on the heels of a bumper 2023 for both TECS and High and Wired, which has seen both companies take on some of the region’s most high-profile projects. Manning recalled a few of the highlights, including: building a giant swing on top of Palm Tower for a film shoot starring US singer/songwriter, JVKE; a zipline at WWE Night of Champions in Jeddah; Middle East

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delivering the automation solution for Phantom of the Opera KSA; delivering automation for the AFC Asian Cup in Doha; providing rigging for Dubai Watch Week; being the first company to supply a rigging solution for Dubai Frame for the New Year’s Eve celebration; and High and Wired becoming a regional sales agent for Bulgarian climbing wall and active entertainment manufacturer, Walltopia.

“It’s fair to say that 2023 has been an amazing year for all of us in and around the events industry,” Manning reflected. “Over and above the projects, the year has seen growth across the board, including in our staff, with new key staff members Artem Schneider, Cladio Nyemba, Jomar Merlin and Mark Ravana joining the team.”

The company has also grown in terms of assets, with a raft of investments helping to drive growth. “We’re continually investing in hoists and trusses to facilitate the basic needs of providing rigging solutions, and we’re also at the forefront of automation and performer flying solutions,” Manning reported. “Having Lewis Calderwood leading the charge on all things automation and performer flying over the past few years has proven to be fantastic for us. He has brought a level of not only technical expertise

(Qualified Expert for Lifting Devices C1 & I-Motion Operator Administration MOVEKET – previously MOVECAT) but he is also one of very few who understands and appreciates the choreography aspect of performer flying.”

MOVEKET products have been a focus for the company over the past few years, with notable investment in variable speed hoists (VMK-S125kg, 250kg and 500kg) and VMW-S125 winches.

“The i-Motion Expert-T III control console has also been a great – and much needed – addition to our inventory,” Manning added. “We’ve also purchased some Alfa Systems SKY-1 winches, which can be used as either single or dual line without affecting capacity or speed.”

Looking ahead, Manning has his sights set on finding an appropriate facility in Riyadh as soon as possible, with further expansion and development within the team also in the offing.

“Long term, I want to see our current team continually grow and with that, some of them will push into more senior leadership positions,” he stated. “Of course, we’ll be growing the team exponentially – we’re always looking for good people to join us.”

Photos: High and Wired KSA www.highandwired.com

Above left: David Guetta getting the authentic High and Wired experience at MDLBEAST Soundstorm.

Above right: Managing Director Shane Manning on site with the High and Wired KSA team.

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Middle East

REGIONAL ROUND-UP

URE breaks records at Dubai Airshow The rigging specialist installs a record number of rigging points at the world’s leading aviation gathering.

As the biggest companies and organisations from the world of aviation descended on the new Dubai World Central aerotropolis for the biennial Dubai Airshow, Unusual Rigging and Engineering (URE) installed its largest ever deployment of rigging points for the event.

Taking place in November 2023, the show was spread across a giant 645,000 sq m site, which featured a purpose-built 42,870 sq m exhibition hall and welcomed some 1,046 exhibitors from 60 countries as well as a trade attendee intake of 60,692.

Such a massive event required an equally massive amount of rigging, with Tarsus Group contracting URE to handle the gargantuan task.

“In total, we provided more than 900 rigging points – 750 of which are hoists – along with more than 2,000m of truss,” said Rigger, Khalid Ali. “The 2023 Dubai Airshow has broken all records for us, with only the 2009 event coming close in terms of scale.”

URE has been contracted to provide the rigging for both the Dubai Airshow and MEBAA (Middle East and North Africa Business Aviation Association) Show for over a decade. For this year, in addition to providing rigging points, the URE riggers worked directly with many of the exhibitors, as well on outdoor static display areas.

“Perhaps the biggest challenge was completing the build before the venue filled up with exhibitors wanting to build their stands,” reflected Ali. “Things were changing every day, with orders and demands increasing. We were still working when the stand contractors and Middle East

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exhibitors turned up to build their booths and the carpet was being laid, and this of course made things a lot trickier.”

This was one of the few instances where planning ahead was not the answer. “New surprises rear their head every day, so the best I could do as team leader was to allocate a designated team for each task on a daily basis, and when or if things got tight, we would all pitch in together,” Ali explained.

Even post show, the challenge continued.

“We had five days to dismantle the entire thing,” Ali recalled. “Normally that would’nt be a problem but on the first two days, the exhibition hall

was still full of stand builders taking down their exhibits. We had to really be organised, creative and prepared to think outside the box to be as efficient as possible with the limited time we had.”

Load-in started in mid-October with an initial team of six people, which increased gradually as the deadline approached. “This was a truly enormous event, and the first time for me to lead the Dubai Airshow project,” Ali concluded. “It was a proud moment to be able to deliver the event as planned – a success for the customer and a success for Unusual Rigging.”

Photos: Unusual Rigging and Engineering www.unusualrigging.com

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REGIONAL ROUND-UP

Star Live VerTech stage system makes India debut BookMyShow Live invests in the cutting-edge infrastructure solutions provider’s flagship product, debuting the system at Lollapalooza India 2024.

In a landmark move set to transform India’s live entertainment industry, BookMyShow Live, the live entertainment experiential division of BookMyShow, has brought Star Live’s VerTech stage system to India for the very first time.

Unveiled at Lollapalooza India 2024 at the BUDX main stage featuring headliner acts including Jonas Brothers and Sting, the VerTech stage came to Mumbai from the UK earlier this year in 16 enormous 40ft containers.

The VerTech stage (derived from Versatile Technology) is the first all-steel stage to feature on the Indian live event landscape, marking a departure from traditional aluminium structures.

Its galvanised steel composition ensures maximum durability, making it ideal for India’s diverse and largely tropical climate, providing superior weather protection and performance against wind, rain, and heat for the largest scales of production. The VerTech stage boasts a seamless structure, integrating towers Middle East

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mechanically into the substructure and a selfsustaining ecosystem, unlike any other in India.

This unified design results in a robust setup capable of withstanding greater wind speeds and complex production demands, including elaborate video technology and screens.

The system can be arranged in over 100 different configurations, with the component range also able to deliver class-leading ground support for indoor and outdoor applications.

“The Indian live entertainment industry is at the cusp of a revolution signalled by a strategically woven mix of innovation, evolution, and technology upscaling,” stated Owen Roncon, Chief of Business – Live Events, BookMyShow, speaking on this market-first move.

“This is exactly the mantra that we are following at BookMyShow Live in order to pave the way for curated live entertainment experiences that are unparalleled, unmatched and unique. With each experience, our work is

focussed towards creating a new benchmark in the industry,” he added.

“Consumers are always at the heart of everything we do at BookMyShow and we are concentrating all our efforts on readying India for artists and performances from across the globe, delivering world-class entertainment on our stage, for our audiences that actively seek premium experiences in their leisure time,” Roncon continued. “Bringing the iconic VerTech stage from Star Live to India furthered these efforts of a world-class platform for world-class artists and has opened up a sea of possible opportunities while elevating the industry standard of technical prowess, production value and sustainability.”

The introduction of the VerTech stage to the Indian market expands Star Live’s global reach, furthering its strategy to establish a strong international presence. With the deployment of the company’s acclaimed Titan stage in Saudi

Arabia early last year – a stage system that garnered attention at the Coronation Concert for King Charles III in the UK – Star Live has since broadened its regional offerings to include comprehensive overlay, seating, hospitality structures, and its premium modular temporary structure product, Starbox.

“As we mark this milestone with Book My Show, Star Live is proud to be a part of revolutionising India’s music events landscape,” commented Grahame Muir, CEO of Star Live.

“This exclusive collaboration not only reflects our commitment to innovation and sustainability but also showcases the immense potential of our global partnerships in enhancing the live entertainment experience.”

The company’s global footprint is wellestablished, with operational bases in China and, more recently, Saudi Arabia. The international acclaim for Star Live’s stage infrastructure was further cemented when VerTech took centre stage at Singapore’s prestigious ZoukOut festival late in 2023. This trajectory is set to continue, with Star Live focusing on the rapidly growing markets of the Middle East and Southeast Asia.

“Following a strategic selection for private equity investment last year, which underscored its trajectory of success and future potential, Star Live is positioned as a global leader in the industry,” Muir added.

“The UK Management team looks forward to engaging with potential partners in KSA over the next few months, signalling readiness for discussions that could lead to collaborative ventures. Star Live invites interested parties to explore opportunities for future partnerships that will enhance and elevate the industry’s infrastructure on a global scale.”

Photos: Star Live, 2024_Credit_RVR16 www.stargrouplive.com www.bookmyshow.com

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Middle East

REGIONAL ROUND-UP

Dubai Opera puts DPA Microphones to the test The venue puts the DPA Live Kit DLK4000 through its paces on back-to-back live shows.

Always in search of the best tools to elevate the quality of live shows and audio experience for the audience, the Sound Department at Dubai Opera recently road tested the DPA Microphones DLK4000 Live Microphone Kit. Delivered by 7Hertz, the kit includes 20 mics and capsules as well as a range of accessories.

Assistant Manager of Dubai Opera’s Sound and Broadcast Department, Jose Almeida was impressed with what he heard. “The 4055 capsule was flawless on the bass drum, giving a very natural response and allowing me the possibility of easily getting the sound I needed,” he commented. “I also used a 4055 on the guitar

amp and I was blown away,” he added. “It was probably the first time I gained a microphone on a guitar amp and when I unmuted it, it was there! Wonderful low end and crisp high end; no mudiness or grittiness – just pure sound.”

Almeida utilised a 2028 capsule on the vocal, describing the response as “very natural” with “amazing gain before feedback”. He added: “This allowed me to have rich, detailed and in-yourface vocal sitting in the mix.”

Photo: 7Hertz www.7hertz.net www.dubaiopera.com www.dpamicrophones.com

Encore Middle East invests in CHAUVET and ChamSys The company bolsters its inventory through local distributor, NMK Electronics.

Encore Middle East recently enhanced its lighting inventory by adding 96 CHAUVET Professional Ovation E-260 fixtures and 11 ChamSys MagicQ MQ50 consoles sourced from NMK Electronics.

“We are thrilled that Encore trusts us and our brands,” commented NMK Electronics’ Jesse Dullabh. “We have always enjoyed doing business with them, and this latest collaboration with CHAUVET and ChamSys further solidifies our strong relationship. It’s gratifying to see our products being used to create spectacular events across the UAE.” With Encore’s Venues branch servicing over 40 hotels across the UAE, the company selected the Ovation E-260 for its exceptional light output and natural warm white colour, meeting the everyday demands of hotel venue events.

The purchase of ChamSys MagicQ MQ50 meanwhile brings advanced control features to Encore’s lighting setup.

Encore has already put the Ovation E-260 fixtures to use on COP28, which demands sustainable yet powerful lighting solutions.

Photo: Encore Middle East www.encore-emea.com www.nmkelectronics.com Middle East

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Rhema Bible Church adds trio of dLive systems to its setup The South African house of worship modernises its ageing FOH, monitor, and broadcast studio systems with Allen & Heath’s flagship platform.

Founded in Randburg, South Africa, in 1979, the Rhema Bible Church is one of the largest Church organisations in the Southern Hemisphere and was one of the first churches to defy Apartheid laws, offering nonsegregated services as a precursor of what was to come in the new South Africa.

In May 2022, founder Pastor Ray McCauley handed the reigns of the organisation over to his son Pastor Joshua McCauley and his wife Pastor Tara McCauley, and it is under this new leadership that the church decided to update its flagship venue’s AV system with the assistance of South African AV distributor, Audiosure.

“This is one of the largest churches in the world, so they needed an audio solution to match,” explained Audiosure Digital Mixer Specialist, Lesedi Maponya. “The church was already running FOH, monitors and broadcast systems, but having grown a sizable online congregation, they desperately needed a modern update to provide the best possible audio quality across all platforms. Additionally, the system needed to be easy to use for both technical and non-technical operators.”

To replace the church’s ageing FOH, monitor, and broadcast studio systems, Maponya and the team at Audiosure recommended Allen & Heath’s flagship dLive platform for all three roles within the church’s audio infrastructure.

“As soon as the church’s engineers roadtested a dLive, it was a no-brainer to go ahead and integrate it,” added Maponya.

At FOH, a 28-fader dLive S5000 surface is deployed alongside a DM64 MixRack for audio processing and analogue I/O, and a Dante card

is fitted for multitrack playback and recording. A second DM64 is utilised at the monitor position, partnered with a 24-fader C3500 surface, and for the broadcast system, another C3500 is employed with a DM0 providing the processing horsepower. In addition to the MixRacks, a DX012 audio expander, providing switchable analogue and AES outputs, is installed.

Audio is passed between the three systems via dLive’s unique tie-line feature, allowing signals to be patched directly to digital outputs via installed gigaACE cards without consuming any of dLive’s 128 input processing channels or incurring additional latency. “The tie-line features on the console are one of the most useful and powerful features in the system,” noted Maponya.

For mixing, the engineers rely on dLive’s integrated tools including the comprehensive suite of zero-latency DEEP Processing compressors and preamp emulations, 16

RackExtra FX slots, plus powerful dynamic processors. “With four bands of dynamic EQ and multiband compression, the Dyn8 is a game changer,” Maponya stated. “It gets constant use.

In fact, it’s now hard to think of a time where dynamic EQ was not an option.”

On the stage, Allen & Heath’s ME Personal Mixing System gives the worship musicians control of their monitor mixes via 10 ME-1 personal mixers, all connected to the ME-U hub which handles PoE and audio transport.

“The aim here was longevity and flexibility,” concluded Maponya. “The access to support and training for a church is important because everyone on the team should be able to operate the system. This is the beginning of a relationship that can grow from strength to strength.”

Photo: Allen & Heath www.allen-heath.com www.audiosure.co.za

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Africa

REGIONAL ROUND-UP

Obsidian control solution stars at Lowveld Gin Fest Lighting Engineer JP Ridgard turns to NX4 console to light South African festival.

JP Ridgard is an avid user of Obsidian Control Systems’ ONYX lighting control platform, and in 2023 the freelance Lighting Engineer turned to the growing brand’s NX4 lighting console for his control solution at the Lowveld Gin Fest in Mbombela, South Africa.

“The NX4 proved to be a real game changer for me during this event,” reflected Ridgard, who procured the console from Obsidian’s local distributor in South Africa, Electrosonic.

“Its built-in touchscreen and ample work surface made it the perfect tool for both programming and playback.”

The 2023 Lowveld Gin Fest took place in early September at the Lowveld Botanical Gardens and featured a stellar lineup of artists, with Ridgard orchestrating an array of dynamic lighting looks that complemented performances throughout the two-day festival. One of the

standard features of the NX4 that Ridgard finds especially useful is its 10 motorised main playbacks. “These were particularly useful for executing precise movements and controlling aspects such as speed masters, size masters, colour bumps, and override cuelists,” said Ridgard, explaining his workflow.

In addition to the main playbacks, Ridgard also made use of the NX4’s 12 sub-playback faders. “These were perfect for controlling main intensities, stop FX, haze and any other elements that I needed immediate access to,” he noted.

“The convenience of having these controls readily available on the sub-playbacks was a real time-saver during the event.”

To enhance his experience even further, Ridgard added Obsidian’s NX Touch control surface to his setup. “The touch rubber buttons on the NX Touch were particularly handy when

it came to executing colour bumps and strobes,” he commented. “These buttons allowed for very quick and easy control – especially when I got caught up in the excitement of the moment and started to smash those buttons.”

The entire rig was run off a NETRON EP4 – a four-universe ethernet to DMX gateway. Ridgard highlighted its ease of configuration and the ability to be controlled directly from the NX4 without requiring additional computers, making it a hassle-free addition to the setup.

Summing up his experience, Ridgard emphasised that the NX4, NX Touch, and EP4 proved to be invaluable assets during the Lowveld Gin Fest, contributing to the overall success of the event.

Photo: JP Ridgard www.obsidiancontrol.com www.electrosonic.co.sa

Soweto Theatre invests in Robe The venue’s lighting department upgrades its inventory with ESPRITE moving lights, sourced through DWR Distribution.

Soweto Theatre recently upgraded its lighting inventory, with an investment in 12 Robe ESPIRTE fixtures.

The lights were delivered by Robe’s South African distributor, DWR, and join the original Robe LEDWash 300 and 600E Spot moving lights that have been working hard in the theatre Africa

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since it opened in 2012, together with the LEDBeam 150s that were purchased in 2019.

The ESPRITES, which will be deployed in the Soweto Theatre’s largest closed performance space, the Gibson Kente Theatre, are “a big leap forward,” according to Head of Lighting, Nkululeko Mazibuko, who oversaw the technical upgrade alongside the venue’s Technical Manager, Lebugang Andrew Mnisi.

DWR’s Kevin Stannett, who looks after the Soweto Theatre account, highlighted that getting a luminaire like ESPRITE in house also makes sense from a cross rental perspective. “If they need to increase the quantity for a specific show, the stock can be augmented as there are already plenty of ESPRITES in circulation,” he stated.

Both Mazibuko and Mnisi understand the importance of good tech support and having a great relationship with the supplier, in this case DWR – something that has been built up over

the past decade. “Our schedule is constantly busy with shows going in and out every week, so we have to keep going, and if anything needs swapping in and out or fixing, then that has to be now,” noted Mnisi, to which Mazibuko added that “consistency and reliability” is a given with DWR.” Soweto Theatre’s General Manager, Vincent Motau, commented: “Soweto Theatre is constantly improving its technology to broaden the horizons of artists’ creativity while also limiting the problems that they might encounter. As a result, our theatre practitioners now have more time to contemplate and expand their creativity.

Robe has made another major leap in innovation, and the ESPRITE Profile LED automated luminaire... is an obvious replacement for old and ageing stock of discharge workhorses.”

Photo: Louise Stickland www.robe.cz www.dwrdistribution.co.za

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PANDORAS BOX SOFTWARE SCALABLE, SYNCHRONIZED REAL-TIME MULTIMEDIA CONTROL. Experience unlimited show control.

We packed exciting new features into Version 8.8 so you can create even more outstanding AV experiences!

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