TPMEA #024 - May/June 2020

MAY / JUNE • ISSUE 024

QIDDIYA

A PROJECTION-MAPPING MASTERCLASS

I

DUBAI INTERNATIONAL JAZZ FESTIVAL • TPMEA AWARDS 2020 • BILD STUDIOS • FEED OUR CREW SOUTH AFRICA

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The microphone is the part of any audio setup with the greatest influence on sound quality.

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TPMEA

WELCOME...

TO TPMEA

Back stronger...

A lot has changed in the two months since I wrote my last editor’s note. We sent the previous issue of TPMEA to press with the threat of COVID-19 looming large, yet in those pre-lockdown days, it was impossible to predict how the coming months would play out.

One thing that was never in any doubt, though, was how the industry would react to what has to be considered its greatest ever challenge. Never short on drive, determination and innovative ideas, many in the industry have been quick to pivot, adapting their offering to meet the developing needs of clients, ensuring that a steady stream of work continues to trickle through. A prime example of this comes from Creative Technology Middle East, which recently facilitated the region’s first ever virtual graduation. I spoke to the CT team about the innovative production on page 44.

Of course, not everyone has been lucky enough to be able to continue work in some capacity throughout the pandemic, and for some people – such as many of the out-ofwork freelance live event technicians in South Africa – that means even putting food on the table has become increasingly difficult. Thankfully, a group of industry professionals were alerted to the struggles that many of their colleagues were facing, so they banded together to form Feed Our Crew – an NGO that aims to raise funds for those in the industry who are most in need. To read more and find out how to donate, turn to page 68.

Also in this issue, we reveal the winners of the TPMEA Awards 2020! For obvious reasons, this year’s event was slightly different to our usual knees-up at Hard Rock Café Dubai. Produced by GAME.AE, the ceremony took place on a virtual stage, with the show livestreamed to an audience of more than 600 viewers all over the world. Look out for the next issue of TPi, which features a full tech profile, explaining how this event came to be.

As we send another issue of TPMEA to print, the future for live events remains uncertain. So, what should we all be doing while we wait for a return to normality? John Lickrish, CEO of Flash Entertainment, said it best in his First Look for this issue: “What is important in times like these is that we don’t get hung up on the negatives, we control our own fate and, when the opportunity arises… be ready to come back stronger.”

Enjoy the issue.

Peter Iantorno Editor

www.tpmeamagazine.com | www.tpimagazine.com | www.tpmeaawards.com

03

We want to personally reach out to all in our entertainment technology and production community as we face this unprecedented health challenge.

All of us – manufacturers, rental companies, venues, broadcasters, festival and event organisers, production managers, artists and of course our vast pool of highly talented individuals, designers, engineers and creative freelancers – to everyone working in all disciplines and across every each sector making this incredible industry go round – we offer our solidarity, strength, thoughts and positive energy.

together our strength will shine.

We are all facing an incredibly tough few months ahead. Cooperation, empathy, humanity and mutual respect should be paramount and in the true spirit of this great industry … please be kind and considerate to others.

When we come through, we will be stronger and more united, and our industry will be more dynamic than ever.

Josef Valchar

#togetherwearestronger

Ladislav Petrek

Harry von den Stemmen

at the heart of our community

CONTENTS

CONTENTS MIDDLE EAST 06 – FIRST LOOK: JOHN LICKRISH

Flash Entertainment CEO offers insight into how the industry can weather the storm of COVID-19.

09 – TPMEA AWARDS 2020

Congratulations to this year’s winners.

41 – REGIONAL ROUND-UP

The latest news from the Middle East, including the BLAST Pro Series Global Final and the region’s first virtual graduation ceremony.

48 – QIDDIYA

The world’s largest projection-mapping installation forms the spectacular backdrop for the Dakar Rally Closing Concert.

58 – DUBAI INTERNATIONAL JAZZ FESTIVAL

An eclectic line-up of international acts including Lauryn Hill, One Republic and Lionel Richie star over three action-packed nights at Dubai Media City Amphitheatre.

SPECIALISED

EVENT SOLUTIONS

64 – COMPANY PROFILE: BILD STUDIOS

Rowan Pitts, Co-Founder of Bild Studios, explains how the company is catering to the growing demand for XR.

AFRICA

FESTIVALS

68 – REGIONAL ROUND-UP

The latest news from Africa, including Family Feud and the Feed Our Crew charity.

CONCERTS

OPENING CEREMONIES EDITOR Peter Iantorno Tel: +44 (0)161 476 8360 Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk

CONTRIBUTING EDITOR Stew Hume Tel: +44 (0)161 476 8360 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk

STAFF WRITER Jacob Waite Tel: +44 (0)161 476 8352 Mobile:+44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk

COMMERCIAL DIRECTOR Hannah Eakins Tel: +44 (0)161 476 8360 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk

ADVERTISING ACCOUNT MANAGER Harley Daniels Tel: +44 (0)161 476 9119 Mobile: +44 (0)7854 087731 e-mail: h.daniels@mondiale.co.uk

CHIEF EXECUTIVE Justin Gawne Tel: +44 (0)161 476 8360 Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk

AWARD CEREMONIES

CORPORATE GALAS

PRODUCT LAUNCHES

EXHIBITIONS DIGITAL EDITORIAL ASSISTANT James Robertson Tel: +44 (0)161 476 8360 Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk

GRAPHIC DESIGN & PRODUCTION Dan Seaton: d.seaton@mondiale.co.uk Mel Capper: m.capper@mondiale.co.uk

ACCOUNTS Lynette Levi / Sarah Miller: ar@mondiale.co.uk

COVER PHOTOGRAPHY Qiddiya by Martin Professional Middle East

MONDIALE GROUP CHAIRMAN Damian Walsh

PRINTED BY Buxton Press • www.buxpress.co.uk

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CONFERENCES

See back cover for more productiontec.com

05

06

FIRST LOOK MIDDLE EAST

JOHN LICKRISH, CEO, FLASH ENTERTAINMENT THE MAN BEHIND ABU DHABI-BASED FLASH ENTERTAINMENT OFFERS AN INSIGHT INTO HOW THE INDUSTRY CAN WEATHER THE STORM OF COVID-19, AND COME OUT OF THE OTHER SIDE STRONGER…

What is important during this uncertain time is that we don’t get hung up on the negatives, we control our own fate and, when the opportunity arises and live events get back up and running, we make sure that we are in a position to make the most of it.

We at Flash Entertainment have grown to a point where we now carry more than 60 people on the administrative team, so one of our main focuses during this time is to make sure that everyone is busy and working on projects that will put us in a stronger position when we come out of the other end of this.

In the extreme short-term, our initial goal was to get our team used to the change in working conditions – specifically, working remotely – and that is already working very well. Thankfully, we were well prepared for the situation we all now find ourselves in, having recently completed an infrastructure and software upgrade of our IT systems. Now we’re into some sort of temporary normality, it’s vital to make sure that everyone is working in the most efficient way possible and is aware of what the expectations are in terms of output. It’s easy to get caught in the trap of having lots of video conferences, talking all the time and not actually achieving anything. However, after the initial adjustment period, people are starting to understand that endless meetings are not the way forward. We’re focused on actually doing, rather than just talking about what we’re going to do.

In terms of our schedule, strangely COVID-19 hasn’t actually affected us much yet. During Ramadan and with summer coming up, we usually devote this time of the year to doing all of our planning, negotiations, budgeting for next year and responding to RFPs, so all that is still going ahead as normal. Of course, we’re extremely aware that when the events season starts again, restrictions are likely to be imposed upon us – whether that is through the government or simply through people’s behaviour. So, we are using this time to come up with new and creative ideas of how we can best operate within those restrictions.

We are also using the time to asses all of our internal processes, evaluating how all of our departments are working together and concentrating on professional development. The Abu Dhabi Government has implemented a huge training programme, with accredited courses being offered free of charge across hundreds of different skillsets. We are taking full advantage of this, identifying some of the areas where we want to become stronger and ensuring that our staff are completing these courses as a part of their KPIs.

ME

08

FIRST LOOK MIDDLE EAST

On the external side, we’re also evaluating some of our existing long-term agreements and exploring how we can provide more value to our partners – whether that’s through tuning up our existing programmes or diversification of what we’re offering. Of course, we’re always looking for M&A opportunities, economies of scale, and the potential to expand our scope and geographies.

One development that will definitely provide a boost to our business is the Etihad Arena, which we are in the final phases of launching. A stateof-the-art, world-class, indoor venue that is very flexible to be able to accommodate a multitude of different events, Etihad Arena is a perfect example of the evolution of the industry we have here in Abu Dhabi.

The new facility adds to our offering yet further, opening up the possibility of holding events throughout the year – even through the summer months. It also furthers Abu Dhabi’s reputation as a global events destination and is another stepping-stone to establishing a recognised touring route in the region.

Saudi Arabia has a key role to play in the establishment of a recognised Middle East touring route. While the government clearly wanted to make a statement and shatter some of the misconceptions of the Kingdom with its ambitious events so far – and there’s no doubt that they’ve achieved some amazing things

ME

already – looking forward, it’s inevitable that all interested parties in the region will need to come up with a plan for routing artists to play four or five shows in a row in the Middle East, instead of one-offs. This will benefit not just the promoters, but also the artists and the content providers.

Through collaboration, we can expect a better outcome for everyone.

Reputation is everything in this industry. It only takes one bad experience for word to spread and suddenly the best people in the business don’t want to work with you anymore.

That’s why we are continually working hard to uphold not only our own reputation – by ensuring that we develop very detailed operational plans and health and safety codes for all our events – but also the good reputation that Abu Dhabi has garnered over the years as a centre for arts and creativity. We ensure that we only work with the very best suppliers who use the best equipment and have world-class crew on their jobs – and that has helped us establish Abu Dhabi as capable and a credible entertainment destination.

When restrictions are eventually lifted and large-scale live shows are a possibility again, we must be careful not to overload the market with events straight away. Everyone is desperate to get back to normal as soon as possible, but events here are quite reliant on tourism, which boosts

attendances significantly, and the whole industry has to be very cautious that it doesn’t cannibalise by putting on too many events at the same time.

We’re all going to be taking a drop in revenue this year – and we are going to have to make that up somewhere along the line – but we operate on a 10-year programme, so there’s lots of time to pull it round.

Flash Entertainment is a self-sustaining organisation that has a really diverse product.

From the AFC Asian Cup and FIFA Club World Cup, to the Formula One Yasalam After Race Concerts, UAE National Day and even the UAE Papal Visit, our offering is incredibly varied.

One of our long-term aims is to maintain and improve our relationships with other content providers in order to increase the diversity of our offering further still, and curate shows that are truly unique for this territory. And with some large international deals potentially in the offing, this forward-thinking vision is still very much on course to be achieved.

Despite the inevitable setbacks that COVID-19 has dealt to the industry, we are determined not to dwell on the negatives. We have to control our own fate and, when the opportunity arises, be ready to come back even stronger than before.

Photos: Flash Entertainment & Rob Loud www.flashentertainment.com

The Winners 14 MAY 2020

SPONSORS

SUPPORTERS

DRINKS SPONSORS

PRODUCTION PARTNER

TPMEA

Welcome… to the TPMEA Awards Issue

In normal circumstances, the TPMEA Awards are a chance for the hardworking men and women of the Middle East’s live events industry to come together for a good old-fashioned knees-up; a chance to let their hair down, catch up with old mates and celebrate the achievements of those who have been at the top of their game throughout the busy events season.

Of course, the current climate dictated that organising our annual soirée at Dubai’s Hard Rock Café would not be possible at this time and, as with every other large gathering all over the world, unfortunately the TPMEA Awards 2020 had to be postponed.

But the show must go on… and with a record number of nominations already received, there was no way we were going to cancel completely. While it was clear that meeting in person was going to be impossible for the foreseeable future, the idea of a virtual event – something that we’re seeing more and more of nowadays for obvious reasons – came to the fore.

Enter GAME.AE: A specialist in video production and show direction, who worked with us every step of the way to produce a stunning virtual awards ceremony, complete with 3D stage and all the bells and whistles. With the comedic stylings of our regular Master of Ceremonies, the inimitable Stuee Kennedy, keeping a Facebook Live viewership of more than 600 people entertained, the event went off without a hitch.

This year, as always, some of the industry’s best and brightest have been honoured with awards. Congratulations to all the winners.

Peter Iantorno Editor

www.tpmeamagazine.com | www.tpimagazine.com | www.tpmeaawards.com

TPMEA AWARDS 2020

PRODUCTION MANAGER OF THE YEAR

SAMANTHA STACEY Samantha Stacey got her start in the events industry working part-time, while still holding down a full-time job.

“I started off working backstage for various concerts in the Middle East, and from there, I realised that this was an industry that I wanted to get more involved in,” she commented. “I was determined to understand every aspect of how a successful live production comes together.”

After she got a taste for the industry, it became clear to Stacey that she had to quit her full-time job to follow her passion. “Through a lot of perseverance, overcoming many challenges and learning from other event pros, I managed to gain enough knowledge to quit my full-time job and pursue my passion in Event Production,” she recalled.

And it was a decision that paid off, as Stacey is now reaping the rewards of the hard work early in her career. “I am able to work with various companies and people of different cultures on some incredible events,” she said. “Over the years, I have never quit learning and I am always looking for bigger, better and more.”

In conclusion, Stacey explained why she was so delighted to be named TPMEA’s Production Manager of the Year: “I’m so pleased with winning this award and becoming a first-time mum to my beautiful daughter, Lisa, during this unusual time with COVID-19,” she stated.

“This will bring various challenges and changes that I am looking forward to.”

TPMEA AWARDS 2020

LIGHTING ENGINEER OF THE YEAR

GORAN SALKOVIC A week after signing up for the University of Economics and Business Science in his hometown of Sarajevo, Bosnia and Herzegovina, Goran Salkovic was offered a gig to work on rebuilding a venue that was destroyed during the Bosnian War. “I never looked back,” he commented.

A few years later, Salkovic started freelancing and did his first trip to the Middle East for Doha Tribeca Film Festival from 2010 to 2012. Further work in Qatar and the UAE followed, including Abu Dhabi Film Festival, Qatar National Day, Ajyal Film Festival as well as a few gigs at the Qatar National Convention Centre.

At the same time, Salkovic set up a DIY festival and agency for booking alternative shows back in his hometown.

“This gave me some valuable knowledge of how an event is made from scratch, as well as dealing with touring bands, crew, productions, riders – all the good stuff,” he added.

In early 2016, Salkovic moved to the UAE full time to join Dubai Opera. “I joined Dubai Opera when it was still a construction site and, three years later, I was afforded the chance to do it all again with the opening of Coca-Cola Arena,” he reminisced.

At the beginning of this year, Salkovic joined Expo 2020 to work on delivering and commissioning a few visual and PAVA projects for the event. “However, due to the current COVID-19 pandemic, my contract got terminated, so at the moment I am in the same boat with a lot of my

colleagues in the industry, keeping an ear to the ground for future projects.”

In conclusion, Salkovic explained how much winning the award means to him: “It’s a huge honour to win this award and quite a surreal experience for me,” he said.

“As someone who has always read every production magazine I could get my hands

on, I never thought I’d have a chance to be featured in one. I had a great time watching the livestream – it was funny and well done, so I hope we can all gather at some point this year for a few non-virtual drinks and most probably a big collective moan about the current shape of our industry due to the pandemic.

TPMEA AWARDS 2020

LIGHTING DESIGNER OF THE YEAR Sponsored by

PAUL COOPES

Paul Coopes has been nominated in the same category since the launch of the awards in 2018. “To finally win it has been a massive achievement for me,” he commented. “Over the past year, I’ve

been lucky enough to work on some great events in the UAE and had the chance to design and work on some outstanding concerts, corporates and exhibitions.”

Having lived and worked in Dubai for

the past six years, Coopes has worked on a range of large-scale events – something which has meant he had to learn quickly.

“It has been such a great experience,” he recalled of his time in Dubai so far.

“It has been a steep learning curve, but something that I wanted to do to help further my career. I’ve been fortunate enough to work on some amazing largescale events and learn from some of the best talents in the region, which has seen my career progress at a rate that I do not think would have been possible in any other country.”

The past year has witnessed Coopes broaden his horizons to take on some work in Saudi Arabia. “Working in Saudi Arabia over the past year has enabled me to further expand my repertoire whilst being able to fully exercise my creative license,” Coopes said.

“I feel very lucky to have had the opportunities that presented themselves to me and that every day I learn something new. I love my job and working alongside great companies in the region.”

Coopes is now using this period of lockdown to increase his skillset, learning new skills including previsualisation and 3D graphic renders.

Reflecting on winning the award at the third time of asking, he concluded cheekily: “Thanks, it’s about time.”

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TPMEA AWARDS 2020

LIVE AUDIO ENGINEER OF THE YEAR Sponsored by

NITIN KURUP

From the day Nitin Kurup realised his unique interest for the art and science of sound reinforcement, he strived constantly towards honing the ideal skillset for it. Starting his career as a studio engineer, he graduated from The Film School DA, pursuing majors in sound engineering under the wings of Mr Daman Sood, who is considered as the father of digital audio in India.

“Being a sound engineer involves a lot of living by your wits,” Kurup commented.

“When unexpected crises happen, you’ve to keep absolute calm and deal with things methodically. I learned this very early in

my professional realm working with the pioneer of live sound, Mr Rustom Pavri.”

After working with Pvri, Kurup toured extensively, working both domestically and internationally for acclaimed artists, festivals, concerts and stadium ceremonies.

His ability to design systems for largescale stadium ceremonies landed him jobs including the Commonwealth Games 2010, Youth Commonwealth Games, ICC World Cup Opening Ceremony, IPL Opening Ceremony, National Games India, PSL Opening Ceremony 2018, Riyadh Season, Dakar Rally, Dubai Jazz Fest, RedFest

DXB and Al Ula Season, to name a few.

“As a practitioner of this craft for the past 18 years, you have to simultaneously understand your equipment and your input – meaning the artist on stage or whatever the content is – as well as who is listening to the results of your work,” he shared.

He concluded: “I believe a skilled engineer can produce a sonically memorable experience. At the end of the day, the guy sitting in the third row doesn’t care how long it took to hang the PA, or how lightweight it is. He just wants it to sound good – and so do I.”

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TPMEA AWARDS 2020

CORPORATE AUDIO ENGINEER OF THE YEAR Sponsored by

TIMOTHY COOK Timothy Cook has always had a passion for music. “From learning guitar at a young age, to joining a band and creating my own music, I had a drive to learn more, which started with the recording process,” he said.

Cook’s drive to learn led him to SAE University in Dubai, where he pursued Audio and Post Production. “While studying, we were encouraged to reach out to companies in the industry to gain work experience, and eclipse Staging Services took me on for a two-week internship,” he recalled. “I was introduced to the world of Live Sound and have never looked back since.

After graduating from SAE, at the end of 2015, Cook was eager to work and prove himself in the industry. “After a further sixmonth internship into 2016, eclipse then hired me full-time, where they welcomed me as part of the family and allowed me the opportunity to learn and grow into the engineer I am today,” he commented.

“They helped me develop the tools and experience needed for live events, while giving support and guidance throughout.

In the years since, Cook has been a part of a wide variety of events – everything from rock ’n’ roll, to corporate.

A few highlights so far include: The AFC Awards in Oman; Harry Potter live in concert in Dammam, Saudi Arabia; Ad Diriyah UNESCO site opening in Saudi Arabia; numerous concerts at Dubai Media City Amphitheatre; and Arab Hope Makers Awards at the Coca Cola Arena.

“I am both humbled and honoured to have won this award and have it handed down to me from my mentor and friend, Wissam Shaheen,” Cook concluded. “I wouldn’t have made it here if it weren’t for my team, my mentors and my family.”

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TPMEA AWARDS 2020

VIDEO ENGINEER OF THE YEAR

TOM STOCKS Video Engineer of the Year, Tom Stocks originally started his career working on festivals and concerts as a Video Technician in Liverpool, UK. His love of live events has seen him work as a Video Engineer across the UK and Europe on various projects.

With a passion for travel, Stocks moved on tour with a theatre production company where he was Head of Video, before finally settling in Dubai. He has gained a vast amount of experience in concerts, theatre, corporate and sporting sectors over the years and his skillset and knowledge have proven to be a great addition to the Creative Technology Middle East team.

He was recently promoted from Senior Video Engineer to Head of Engineering for the Live Events division of Creative Technology Middle East.

“Congratulations to everyone who won a TPMEA Award this year,” he commented.

“And a huge thanks to everyone who voted for me.”

TPMEA AWARDS 2020

VIDEO CREATIVE/DESIGNER OF THE YEAR

CHRISTIAN SCHMIDT A highly experienced professional, Christian Schmidt has been working in 3D animation and interactive media for over two decades.

He completed his studies in interactive arts with the main emphasis on 3D animation and interaction with multimedia data. After running the 3D department of amoremio.de in Germany, he moved to stereolize/second unit. At stereolize, he led the event department and was a Ventuz real-time artist of the first generation.

In 2005, Schmidt made the move to Dubai as Product Manager for real-time graphics software developer, Ventuz.

During this time, he represented Ventuz worldwide in the event, presentation and broadcast markets.

In the beginning of 2008, Schmidt founded 3Monkeys, together with Marc Mikulla and Rudi Buchner. Turning freelance in 2015, he founded Designate and is now a creative services provider for the media and events industry. He offers services to conceptualise, design and produce animated and interactive content.

“I am grateful to everyone who nominated and voted for me. It is a welcome boost to morale during these troubled times,” commented Schmidt. “I hope we can all come together again very soon to create outstanding productions.

I specifically would like to thank Marc Mikulla and Rudi Buchner, with whom I started in the Middle East events industry such a long time ago and who helped me be the designer I am today.”

TPMEA AWARDS 2020

RIGGER OF THE YEAR

Sponsored by

RYAN D’CUNHA

Ryan D’Cunha is the Founding Partner of iRIG Events. “I have had the privilege of watching the company grow from grass roots to an awardwinning premium supplier of bespoke rigging and automation services,” he commented. “We started small, but we always had the drive and ambition to compete with and surpass our competition –this award proves that we’ve achieved this.”

He added: “With clients ranging from acclaimed Creative Designers to Oscar-winning Hollywood directors, iRIG constantly rises to the occasion and, most importantly, we always deliver the goods.”

A long-held ambition of D’Cunha’s has been to raise the general standard of rigging and riggers in the Middle East. “We have worked tirelessly towards this goal and, thanks to the efforts of my team, we are doing just that,” he said.

“Winning this award gives me the recognition for all the effort it takes to successfully, safely and consistently provide the best possible rigging solutions,” he said. “It’s a great honour to have my industry peers and colleagues publicly acknowledge my work. We do it because we love it; you can’t be in this industry half hearted.”

D’Cunha concluded by thanking those who helped him win the award.

“I’d like to take this opportunity to thank my business partner and iRIG Technical Director, Mathias Wilke – teamwork got us to where we are,” he commented. “I’d also like to thank my wife, Laila, for the never-ending supply of support and, lastly, thanks to the entire iRIG Family for following me on this journey.”

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TPMEA AWARDS 2020

SFX ENGINEER OF THE YEAR

PIOTR SZABLOWSKI Born in 1975, Piotr Szablowski joined Flash Art in 1996 while touring as a rock band’s drummer. Until 2006, he designed pyrotechnical displays for Flash Art’s European operations and did special effects for the movie industry – including feature films in Germany, Poland, Sweden, Italy and more, as well as TV commercials for various European markets.

Since 2006 Szablowski has been part of Flash Art Dubai and has designed fireworks displays for numerous events, including Formula 1 Abu Dhabi GP, Qasr Al Watan Opening Ceremony, UAE National Day, Bahrain Financial Harbour Opening, Middle Eastern Culture Festival Opening, Dubai World Cup, 100 Years of Arab Revolt, and many more.

His SFX background has also been utilised for special presentations of the UAE Armed Forces and Dubai Police.

It is the combination of expertise in all pyrotechnics-related fields – be it film, television, or events – which enables him to come up with out-of-the-box ideas and connect with diverse audiences.

“I really appreciate this recognition, as it is a collective statement made by my pears from within our industry,” he commented on receiving the award.

“Massive thanks to everyone who voted and to my wife, Jo Szablowska, also an events professional, for campaigning on my behalf.”

Szablowski reserved his final words for everyone he’s worked with. “Last, but definitely not least, it needs to be said that although my face is often on the proverbial poster, this job always gets done by a group of people, so I’d like to say a big ‘thank you’ to the ones who have worked over, under, and next to me for these past 14 seasons. Our shows speak for themselves and this is all we can ask for.”

TPMEA AWARDS 2020

EVENT COORDINATOR OF THE YEAR

MOHAMMED MOEIN Mohammad Moein comes with more than 12 years’ experience within the UAE Events Industry. He has worked with many of the top events organisations, and has built a reputation for being a hardworking, capable asset to any team he’s been a part of.

Having worked on many Governmental events, awards ceremonies, live events and Royal events, Moein has gained an allround knowledge in many areas of event management. He is also a very well-known and respected Arabic show caller in the region and has good relations with many of the UAE’s governmental event entities.

“Being nominated for the TPMEA Award for Event Coordinator of the Year was very unexpected,” he shared, commenting on his victory.

“Going on to be the winner was obviously a huge honour and, until now, the most humbling recognition in my career so far in the events industry. It meant more than just an award – it meant that my fellow peers believed that I deserved this honour by nominating and voting for me.”

Moein concluded by thanking those who have supported him over the years.

“I would like to thank my family for being so supportive, even though it meant that the more I worked, the less time I had with them. This never stopped them from always supporting and encouraging me every day and every step of the way,” he commented.

“I would also like to thank all of the events agencies that gave me the chance to work with them and to gain all the knowledge that I know today. A special thanks to Done Events for believing in me and nominating me for this award. I could not have done it without their support and encouragement.”

TPMEA AWARDS 2020

AV PROJECT MANAGER OF THE YEAR Sponsored by

EOIN SHERIDAN

A lighting designer by trade, Eoin Sheridan has worked on events across Ireland, ranging from large-scale corporate conferences to various musical theatre productions.

“Over the years, I migrated to the role of Production Manager and my current position is as Operations Manager for

Solas AV, based in Dubai, he explained.

He furthered: “In November 2018, the opportunity arose to join Solas AV and, having worked in the Irish events industry for over 10 years, I was excited about the chance to trade in the cold Irish weather for sunny Dubai! And, of course, the opportunity to join Solas AV and build on

my knowledge and experience while based in the Middle East was something I could not pass up.”

When he moved to Dubai, the team at Solas AV helped Sheridan quickly familiarise himself with the local industry norms. “This enabled me, and my career, to go from strength to strength and I have since been trusted with some of our most valuable projects and clients across the UAE region,” he revealed.

Solas AV has also gone from strength to strength in recent years. “Having opened in October 2015 with a small crew, the company now employs over 70 highly skilled staff,” he said. “Increased investment in these employees and their skills along with state-of-the-art equipment means we deliver the highest quality events such as The Atlantic Council Conference, Taste of Dubai Festival and McGettigan’s St Patrick’s Day Festival.

Sheridan added: “Winning the TPMEA Awards 2020 AV Project Manager of the Year Award has been a great highlight for me; I was very surprised but pleased to have been nominated for the award. I want to take this chance to thank all the team at Solas AV for the support along with all my family, friends and mentors back home in Waterford, Ireland. Without them, it would not have been possible.”

TPMEA AWARDS 2020

SITE INFRASTRUCTURE MANAGER OF THE YEAR

JAMES BILLANY

Raised in the North East of England, from a young age, James Billany knew he wanted a career that would allow him to work closely with people. “Due to this, and my approachable and charismatic persona, the hospitality industry chose me,” he commented.

“Developing concepts for nightclub events was my first taste and stepping-

stone into the industry and from there I most certainly have never looked back.”

A decade ago, Billany moved to Dubai to look for bigger and better opportunities. “This is when I found eclipse Staging Services,” he recalled. “I gained a solid foundation of knowledge in all technical aspects of events and had the opportunity to light up names such as

Stevie Wonder, Justin Bieber and my alltime favourite performer, Andre Bocelli.”

Gaining this valuable experience with eclipse gave Billany the expertise and skills to further his career in freelancing. “This began with challenging Site/Technical Management roles, where I was pushed to think on my feet and make decisions; from this, many lessons were learnt, helping me to progress to Project Management roles,” he said.

He continued: “My strong commitment to the events industry, my ability to build a rapport with clients, and my skill of boosting staff morale has opened up surplus opportunities for me to work on a variety of different projects all around the GCC.

During the quieter summer months in the UAE, I head back to Europe to refresh and gain further knowledge in new technologies, which are being used globally within the events industry.

He concluded: “I would like to say a huge thank you to Showforce Events Management & Services, Maestra Group, Arena Events, Evolution Live Events Management, ER Productions UK, PRG Belgium and The Louvre Abu Dhabi for bringing me on board to be part of their fantastic projects.

“Additionally, I would like to thank TPMEA for hosting this event. I am very honoured to receive this award, as I have met some very talented people over the years here in the Middle East. It makes the 10th anniversary of residing in the UAE that little bit more special.”

TPMEA AWARDS 2020

TEMPORARY STRUCTURE PROJECT MANAGER OF THE YEAR

MINNIE WALLINGTON Minnie Wallington joined Arena as an Account Manager in September 2007, having previously spent a decade in the event and hospitality industry in Kenya and the UK.

Since joining Arena, Wallington has managed some of the company’s most prestigious clients and events in both the Middle East and Asia, including Volvo Ocean Race, ADIPEC, AD Golf Championships, Red Bull Air Race, Sime Darby Ladies Golf Championship in Malaysia and CJ Cup in South Korea, to name a few.

Today, Minnie heads up Arena’s Middle East & Asia sales effort and is responsible for the delivery of company sales targets across a diverse range of products and industries.

“It’s truly an unexpected honour to receive this award, and I feel very privileged to not only have been nominated but to have won,” she commented.

“As we all know, the event industry has been hit hard by the COVID-19 pandemic, and the TPMEA awards are a great way to honour all the fabulous people who dedicate so much to our industry. I look forward to celebrating with everyone at next year’s edition. A huge thank you to everyone who voted for me.”

TPMEA AWARDS 2020

EVENT PROJECT MANAGER OF THE YEAR

KELLY JONES

After starting her events career in the UK at the age of 19, Kelly Jones grew the events business for her company from 2007 to 2016, massively increasing profit levels. “I learned everything I know on the

job; it gave me such valuable experience in this industry,” she reflected.

In 2015 Jones visited Dubai on vacation and everything changed. “I fell in love with the city and I moved to Dubai in 2016,

working for various events companies before landing at Done Events, where I feel I’ve found my home,” she recalled. “I have not looked back since.”

Jones has worked on various corporate and live events over the years, including most recently the Global Business Forum and Arab Media Forum. “Moving into the current climate, I’m broadening my horizons by learning the ins and outs of taking events into the virtual world – definitely a trend I believe will stick around for a while,” she said.

She concluded: “Being nominated, never mind winning this award is such an honour. I’m so grateful to be recognised in an industry I’ve loved being a part of and can’t wait to see what the future holds.

“Special thanks to my rockstar colleagues who put up with me on a daily basis, and it’s a pleasure to be working within such a supportive team, who are constantly pushing and boosting each other to do great things.

“It was great that the awards were still held despite the current situation.

We had a team video call so we could still celebrate the evening with the Done Events family. I can’t wait to celebrate in person though!”

TPMEA AWARDS 2020

ENTERTAINMENT MANAGER OF THE YEAR

PETER GREEN Peter Green began his live events career more than 10 years ago, working for AEG in its Global Partnerships division at The O2 Arena, London. At just 20 years old, and with the Arena operating over 200 shows a year, it was an incredibly fast-paced environment. “It proved as a great introduction to how the event industry operates,” he recalled.

After three years at London’s O2 Arena, Green was offered an opportunity to relocate to Dubai and join Done Events, initially as Sponsorship Manager. “Our shows in the first couple of years included the likes of Eric Clapton, Bruno Mars and Jennifer Lopez headlining the Media City Amphitheatre, as well as the first visits to the region

by Justin Bieber and One Direction,” he reminisced.

“One Direction still holds the record for the biggest UAE concert, with over 32,000 attendees.”

Since 2016 Green has managed the Live Events division at Done Events. “We have seen significant growth, with our annual festivals RedFestDXB, Blended, Dubai International Jazz Festival (acquired in 2018) and the region’s largest comedy series, DXBLaughs. We have also organised multiple headline arena shows with the likes of Maroon 5 and AR Rahman,” he said. “This growth couldn’t have been achieved without the great team and family spirt at Done led by our MD, Girish Bhat.”

Reflecting on his award win, he commented: “I am very honoured to have won this award and grateful to all of those in the industry who voted for me. “Unfortunately, the current situation didn’t allow us to celebrate together in person, but I hope that will change very soon.”

TPMEA AWARDS 2020

THE EINO BACKSTAGE AWARD

NANCY MARIE AQUINO

Nancy Marie Aquino has called HQ Worldwide Shows her professional home for over 13 years and in that time has become an avid advocate for the company as HQWS is for her talent. The glue that holds the production team together,

Acquino has an attention to detail that’s both brilliant and all encompassing.

Day to day, Aquino ensures all leads and client submission requirements are collated, disseminated, recollected and submitted on time and according to client

specifications. She has an eye on every project and makes sure that every member of the production department is informed of all client requirements in the pitch phase.

Whilst keeping one eye on the preaward and helping HQWS secure project wins, Aquino simultaneously takes care of multiple post-award project requirements in event logistics, including travel and hospitality, ground support and on-site requirements.

Aquino has supported the majority of HQWS projects since 2007, including: 44th UAE National Day Celebration, Warner Bros. World Theme Park Grand Opening, HIPA 8th Season Award Ceremony, Pope Francis Holy Mass, Qudwa Forum and Anniversary Celebration of Human Fraternity events.

“It is a great honour for me being recognised as one of the outstanding individuals in the event industry,” she commented. “This award is truly unexpected as I know there are loads of event people who also deserve it. I am so touched!”

She concluded: “Let me first thank our almighty God, who always guided me, giving me strength and courage to face all the trials that comes my way. Second, my family back home, my parents, my children and my partner, who inspires me to dream big. I’d also like to thank my past and present colleagues, who became part of my every day journey at work.

“And of course, with all my heart, massive thanks to HQ Worldwide Shows, who became my mentor and my family in the UAE for more than 13 years! For their trust and undying support, I love them all so much!”

TPMEA AWARDS 2020

TEMPORARY POWER SUPPLY ENGINEER OF THE YEAR Sponsored by

HARRY KUMAR Harry Kumar got his start in the industry in 1996, days after graduating from MVM College of Engineering in Bangalore, India. He began working as an Air Conditioning and Electrical Technician at Blue Star, then progressing to work for United Refrigeration & Air Conditioning until 2005.

Kumar then moved to Dubai, working for Arena Group as Head of Department of AC & Electrical Services until 2014, before making the move to Aggreko Middle East, within the Aggreko Event Services Division as Events Project Manager.

“I currently work for the world’s leading power generation and temperature control company, based in the UAE,” he commented. An integral part of Aggreko Event Services MENA team, Kumar has delivered some of the largest events in the MENA region. He has more than 15 years experience of delivering worldwide events and projects.

Over the years, Kumar has lent his innovation to such events and projects as Dubai Watch week, Quasar Al Housaan, Saudi Air show, Jeddah Season, Dubai International Boat Show, Dubai Design Day and ALEC Bulgari Hotels & Resorts.

Kumar has taken the initiative to learn and implement new ideas while communicating with multilingual clients with diversified cultures, work atmosphere, teamwork and family. “There is a powerful driving force inside every human being that, once unleashed, can make any vision, dream, or desire a reality,” he commented. “It was my mother who recognised the potential within me, but I thank God for giving her the insight about me.”

He added: “I express my heartfelt gratitude to my Managing Director, managers, colleagues and clients of Aggreko for trusting me and enabling me to achieve the TPMEA Award 2020.”

TPMEA AWARDS 2020

STAGE MANAGER OF THE YEAR

NIGEL BEATON

Born in Cardiff, Wales, Nigel Beaton worked for a number of UK crewing companies before making the move to the UAE. Arriving to settle in Dubai in 2008, he started working as a freelance stage

and site manager.

On seeing how the local crew market operated, Nigel realised that there was a need for an injection of professionalism to the marketplace, and so, Gulf Crewing

Company (GCC) was formed.

Based on the UK crewing model but tailored to the region, with Nigel providing training for the crew, employing them and making sure they were properly equipped with PPE, the company proved to be a massive success. Growth was swift, and GCC went on to employ over 70 fulltime staff, with an extensive roster of freelancers also on the books.

Always leading from the front, Nigel never took a back seat and his booming Welsh voice of the valleys was a constant feature of any GCC event. Nigel and GCC worked on some the most high-profile events in the UAE and last year set up in Saudi Arabia to work on the booming market that had started in the country.

With the Stage Manager of the Year category being newly introduced to the TPMEA Awards in 2020, it was inevitable that Nigel would be nominated.

Sadly, Nigel had contracted the COVID-19 virus and was hospitalised before the nominations were announced.

His wife, Karen, informed him of his nomination via WhatsApp, but tragically Nigel passed away before the winners were announced.

From 2021 onwards, this award will be known as The Nigel Beaton Stage Manager of the Year.

TPMEA AWARDS 2020

THE TPMEA AV INDUSTRY RECOGNITION AWARD

ANDY JACKSON

Andy Jackson has been a Sound Designer and Engineer for the past 30 years. He has a wealth of experience in the UK, Europe and the Middle East, across all aspects of the live sound industry.

Jackson arrived in Dubai 18 years ago to take on the role as Head of Sound at Gearhouse. After three years, he moved

to a freelance role and was immediately brought in by leading agencies to facilitate their event sound designs.

Having seen a gap in the market, Jackson became the founding partner of Delta Sound, with a plan to introduce a specialist audio and communications company into the region. Jackson and

Delta became synonymous with largescale events in the Middle East. Events have included the Abu Dhabi F1 Concerts, the Burj Khalifa launch and their annual New Year celebrations, as well as many National Day projects – all these events attracting worldwide media coverage.

With a natural eye for advancing technology and creative skills in the region, Jackson has always made sure that ‘the team’ is the primary focus. “I have always appreciated the talent that has worked alongside me in delivering these fantastic events,” he commented.

Jackson’s self-styled management is unique and self-taught. “Running a successful business demands excellent product knowledge, good client interpretation, good business acumen and, above all, building a team full of talented people,” he reflected.

In April 2019, Deltasound was acquired

by Production Resource Group. Jackson’s philosophy has not changed at all and the success is still very much based around the quality of people, training, and looking at new ways to be different. He maintains his position as Managing Director.

“Winning an award like this allows some time for reflection, particularly in the current situation. It also allows me to recognise everyone who has been part of my journey so far, including the many clients who have trusted in me to deliver their dreams,” Jackson concluded. “I would like to thank everyone who has been part of the Deltasound team, which has played a huge part in my life, with particular thanks to Mark and Paul.”

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TPMEA AWARDS 2020

OUTSTANDING EVENT PRODUCTION OF THE YEAR Sponsored by

AD DIRIYAH SEASON

Aimed at transforming Saudi Arabia into one of the most important tourist destinations in the world, the Saudi Seasons have seen different cities and regions throughout the Kingdom play

host to some truly incredible events throughout the year.

With a vibrant mixture between celebrating the country’s unique culture and heritage and welcoming in visitors

from all corners of the world, the 2019 events have been nothing short of groundbreaking.

Taking place from 22 November to 21 December, Diriyah Season saw an unmissable set of international sports and entertainment events descend on the famous UNESCO World Heritage site, known as the birthplace of the Kingdom of Saudi Arabia.

Amongst the many events that made up the month-long Diriyah Season, Diriyah Music Festival saw a slew of international artists perform on consecutive weekends throughout the month. With the likes of Swedish House Mafia, Calvin Harris, Lil Wayne, Major Lazer, Marshmello, Maluma and Pitbull just a few of the highprofile acts on show, this was one of the largest undertakings ever to come to the Kingdom.

And Diriyah Music Festival was far from the only activation going on in this packed month of events, with the Diriyah E-Prix, Diriyah Tennis Cup and Clash on the Dunes – the World Heavyweight Title fight between Anthony Joshua and Andy Ruiz – all taking place on the packed schedule.

Congratulations to everyone who made this incredible event possible.

TPMEA AWARDS 2020

Thanks to all our sponsors and supporters

www.tpmeaawards.com

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MARTIN PROFESSIONAL MIDDLE EAST AND SCIENTECHNIC LIGHT TOLERANCE BRIDGE MARTIN BY HARMAN EXTERIOR WASH 310 LED FIXTURES BRING THE ICONIC LANDMARK TO LIFE.

Dubai’s Tolerance Bridge was recently illuminated with a dazzling light display, courtesy of Martin Professional Middle East (MPME) and Scientechnic.

Dubai Roads and Transport Authority (RTA) hired Scientechnic to design a lighting solution, which would light the 690ft-long walking and cycling path over the Dubai Water Canal – the only clear span suspension bridge in the Middle East – without causing any glare for the pedestrians using the bridge.

Scientechnic consultant, Christos Tsikiloudis worked with MPME to design a captivating

lighting display using 22 Martin by Harman Exterior Wash 310 LED fixtures. Tsikiloudis selected the fixtures due to their compact, energy-efficient design and uniform colour mixing, as well as the option of a discreet snoot, which integrated seamlessly with the fixtures to help reduce glare. Glare was further reduced thanks to the accessory honeycomb louvre, which improved visual comfort.

The system was controlled using M-PC, an online and offline editing tool for PC, which enables users to create stunning visual displays.

Tsikiloudis and his team used this tool to enhance

the arched structure of the bridge, making crossing a playful and interesting experience for any pedestrian.

“Love and tolerance are bridges of communication and a universal language, binding humanity across different languages, religions and cultures,” said Sheikh Mohammed bin Rashid, Vice President and Prime Minister UAE, Ruler of Dubai. “Our UAE today is a light in a dark place, setting a bright example for others.”

Photo: Martin Professional Middle East www.scientechnic.com www.martinpro-me.com

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BLAST PRO SERIES GLOBAL FINAL COPENHAGEN-BASED 4K PROJECTS TAKES THE POPULAR ESPORTS TOURNAMENT TO BAHRAIN.

One of the highlights of the booming international eSports calendar, the longawaited BLAST Pro Series Global Final was hosted in the Kingdom of Bahrain in December 2019. An action-packed first-person shooter tournament spanning two days, the event attracted gaming fans from around the world to the 7,000-capacity Isa Sports City Arena.

Project Manager, Mikkel Samuelsen of Copenhagen-based specialist 4K Projects oversaw the project, along with Operators, Kasper Lange and Balder Thorrud. Lange was in charge of lighting, video and design, while Thorrud set up and operated the Green Hippo Hippotizer media servers, which looked after the complex playback requirements of the event.

The Green Hippo package consisted of three Boreal+ units – two of which ran content for all

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the main LED screens, while the third served as a back-up. In addition to this, one Hippotizer Amba+ unit was used to feed auxiliary displays around the arena, including digital signage, scoreboards and TV monitors.

4k Projects’ Hippotizer and signal system setup included a NewTek NC1 I/O Module for converting SDI (Serial Digital Interface) to NDI (Network Device Interface), plus a complete 10GB network for distributing NDI data between servers and preview positions.

The Bahrain show was the last of seven BLAST shows worldwide for which 4K Projects provided their expertise during 2019. Samuelsen revealed that the Hippotizer setup for each was similar, but the main challenge for this event was the vast array of inputs required for the Hippo servers. “On a full show, we have 12 live

inputs with a combination of direct 3G SDI in 59.95Hz progressive inputs and NDI sources,” he explained. “A typical tournament has three games running simultaneously, which we then input and distribute to all the LED screens.” There were 15 screens in total, not including the arena’s scoreboards and LED signage ribbons, measuring 450 sq m in total.

The video content was designed by BLAST and Danish media company, Timeline. All the video playback was programmed and executed on an MA Lighting grandMA2 console in order to keep in sync with the show’s lighting.

“The lights on BLAST shows have always been minimal,” Samuelsen told TPMEA. “It’s the game and the broadcast that is the main part of the show. The lights are just for lighting up the people, background flickering and then for some

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What’s Next.

heavy effects when required for things like the opening sequence and transition to the final match. Kasper is an expert in finding the perfect balance between the two.”

The PM praised the MA Lighting grandMA2. “It is fantastic when it comes to working lighting and video together,” he commented.

“Especially with the Hippotizers, which are so easily controlled via DMX. If you just invest your the time in setting up Layout Views, with your Macros and Layers easily accesable, then it’s so easy. And have a Zookeeper window next to you for reference,” he outlined.

Thanks to the versatility and reliability of the Hippotizers, 4K Projects was able to input live game data, including player stats provided by Danish company TV Graphics, and feeds from the player cams, for each of the 30 competitors. “We input all the live tournament graphics, which displayed the standings and results from all the matches throughout the day,” he said.

4K Projects has been working on the BLAST shows since the inaugural tournament in 2017 by Danish esports company RFRSH. In 2019, they successfully completed BLAST shows in Copenhagen, Sao Paulo, Miami, Madrid, Moscow and Los Angeles, and Samuelsen was delighted with how the Bahrain show show panned out.

“The show was broadcasting live for three days, for 12 hours each day,” he concluded. “Not one single time did we have so much as a flash on the videoscreen or a single link on an LED panel fail.”

Photos: Mikkel Samuelsen www.blastpremier.com www.4kprojects.dk www.green-hippo.com

See how ETC is revolutionizing the studio market. studio.etcconnect.com

visual environment technologies etcconnect.com

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REGIONAL ROUND-UP

CT MIDDLE EAST PUTS ON REGION’S FIRST VIRTUAL GRADUATION THE COMPANY PRODUCES A SEAMLESS VIRTUAL CEREMONY THAT ENABLES 38 GRADUATES ACROSS FOUR DIFFERENT COUNTRIES TO CELEBRATE THEIR ACADEMIC ACHIEVEMENTS.

While the current restrictions on live events remain in place, the industry is having to come up with new and innovative ways to facilitate live events in the virtual landscape.

At the forefront of this innovation is Creative Technology Middle East, which recently completed the region’s first ever live virtual graduation ceremony.

Supplying a full virtual solution, content creation and communication system, which was controlled from the company’s Middle East headquarters in Dubai, the ceremony allowed 38 graduates who were located across four countries, to come together and celebrate their achievements. The graduation was streamed by

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over 1,500 people from 35 different countries.

“Our client wanted to ensure that the students got the ceremony they deserved,” explained CT’s Head of Engineering, Tom Stocks.

“The event needed to enable all the graduates to speak in unison to pledge their oath. Five speakers were pre-recorded ahead of time, and the event was streamed live to the public. This had never been done before in the region.”

With just 10 days lead time and a simple yet challenging brief of producing “a seamless virtual graduation ceremony that was designed to look and feel like a non-virtual ceremony,” the CT team wasted no time in working on a solution. Giorgio Devecchi, Project Manager, described the process:

“Our client designed the stage to look and feel as close to a normal graduation ceremony as possible,” he began. “Once all designs were approved, CT built the virtual environment, modelling the 3D object of the stage to help produce the content. The content was created using 3D softwares and Notch to provide a fully customisable virtual environment, which saw various elements appear as augmented reality.

Devecchi explained how having multiple speakers meant that the best solution was a mixture of pre-recorded videos and live inputs.

“We were able to show the speakers from different camera angles while ensuring there was always a view of the graduates, which enabled viewers to

REGIONAL ROUND-UP

watch their reactions and interactions throughout the ceremony,” he commented.

Given the short timeframe to produce the show, the use of pre-recorded assets had a range of benefits. Dan Hughes, Senior Project Manager, explained: “The primary benefits were control and flexibility. Firstly, it meant that we could optimise each recording, which supported continuity between the virtual environment and the videos playing back within,” he commented.

“Timelining pre-recorded assets into the virtual environment gave us the ability to present the graduation days ahead of the final ‘live rehearsal’ to stakeholders, giving them opportunity to give feedback and direction.”

A key part of the solution involved exporting Notch content into a disguise gx 2c system.

Devecchi explained: “This integration enabled us to use the disguise camera system to build a sequence of different views and simulate director’s cuts for the different cues in the show.

The camera system integration gave the audience

the perspective that the stage elements and the environment were real, enabling them to feel as though they were attending a live show.”

The show was streamed live onto the client’s website and recorded so it could be played back on their website via video on demand.

Stocks commented: “Our operators were able to program the Barco E2 screen management system and media servers as they would in a normal live event setup from the direction of creatives and showcall,” he added.

“We implemented the ‘live’ aspects of the show via video conferencing and we were able to encode real-time confidence monitors to return the live feed back to them so they could watch the show as it happened. Along with a video return feed, we could also communicate to the show participants to give them cues. This approach allowed us to integrate participants into the event from anywhere in the world.”

CT integrated its Riedel system to the video conferencing platform to enable the client, crew

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and remote staff to communicate from anywhere in the world.

“We also supplied a Riedel Artist-64 matrix frame, controlling six DSP-2312 desktop panels and six Bolero wireless belt packs,” confirmed Rob Turner, Integrated Networks Technical Manager.

“These units were used by CT crew and clients within the CT virtual studio setup.”

A ClearCom HelixNet wired system was also incorporated into the setup, while Luminex 14R switches were used for distribution of all signal and user interface paths. “The entire setup was flawless,” Turner added. “We had full coverage of the CT facility handled by a single Bolero antenna and crystal clear audio from both the Riedel system and the ClearCom Helix units.”

Thanks to these innovative solutions, the class of 2020 got the chance to celebrate their graduation with friends, family and tutors that they deserved.

Photos: CT Middle East www.ctme.co

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REGIONAL ROUND-UP

ADAM HALL APPOINTS GSL PROFESSIONAL AS MIDDLE EAST AND AFRICA DISTRIBUTOR THE EXCLUSIVE SALES PARTNERSHIP INCLUDES LD SYSTEMS’ ENTIRE PORTFOLIO OF PRO AUDIO BRANDS. GSL Professional has been appointed as the Middle East and Africa distributor for the Adam Hall Group.

The exclusive sales partnership includes LD Systems’ entire portfolio of pro audio brands.

Besides selling LD Systems, GSL Professional has also been selling Cameo lighting technology products since 2019.

“We’re happy to have found GSL Professional, one of the largest sales partners in the MEA region, to sell our LD Systems brand,” Markus Jahnel, COO, Adam Hall, commented.

“GSL is one of the most renowned providers of event technology in the Middle East and, as the leading Cameo distributor in this region in 2019, has already proven in the past year

that they can successfully position a brand on the market with their expertise and lots of enthusiasm,” Jahnel continued.

“We are looking forward to LD Systems having a promising future in the MEA region with this exclusive collaboration.”

Adrian Curtis, Managing Director of GSL Professional, added: “We are extremely excited about this new partnership, I am looking forward to building a strong business relationship with our new partners, and extending the business for Cameo and LD Systems through our vast channel partner network.”

Photo: Adam Hall www.adamhall.com www.gslprofessional.com

MASTERSOUND INVESTS IN DIGICO AHMEDABAD-BASED COMPANY BOLSTERS ITS STOCK WITH A NEW DIGICO SD10 CONSOLE.

Mastersound has purchased a DiGiCo SD10 from the British manufacturer’s authorised India distributor, Hi-Tech Audio Systems.

“DiGiCo’s SD10 is in high-demand among both mixing engineers and artists,” commented

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Mastersound Director, Tarandeep Singh. “It was time for us to upgrade our inventory and the first choice was DiGiCo.”

Singh explained that part of the purchasing decision came to down to his trust in Hi-Tech Audio Systems. “I was also confident with Hi-Tech Audio Systems’ support,” he stated. “The first show we did with the SD10 was for Bollywood’s popular singer, Shaan, in Lucknow. Tanay Gajjar, who was the FOH Engineer, prefers DiGiCo and we were happy to provide him with the SD10.”

Hi-Tech Audio Systems Application Engineer for DiGiCo, Vanshaj Sharma, commented: “Mastersound’s SD10 curtain-raiser show for Shaan went smoothly. Tanay Gajjar is India’s top engineer and has been travelling with Shaan for a long time now. He is a keen user of DiGiCo and loves the worksurface,” he added.

“The fact that DiGiCo worksurfaces are familiar across the range and the majority of engineers are comfortable to jump around different DiGiCo consoles is a huge bonus for

us and makes the console a popular choice for rental companies who have to provide a userfriendly digital console.”

Akshay Rajput, Sales Manager for Hi-Tech Audio Systems, was delighted to work with Mastersound. “We are honoured and privileged to provide them with the SD10,” he said. “DiGiCo is an iconic brand that is admired globally. Our priority is always client after-sales support and we won’t compromise on that.”

“We are always delighted when our clients appreciate our efforts to represent DiGiCo in India,” concluded Rajan Gupta, Hi-Tech Audio Systems Managing Director. “We know that DiGiCo’s popularity is due to its continuous endeavour to innovate and upgrade its technology. We also know that Mastersound and DiGiCo are on a roll to make history in India.”

Photo: Mastersound www.digico.biz www.mastersound.co.in www.hitechaudiosystems.com

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N&M LAUNCHES DIGITAL LIVE EVENTS PORTFOLIO THE COMPANY RAMPS UP ITS CUSTOMISED STREAMING SOLUTIONS OFFERING TO MEET INCREASED DEMAND. Neumann&Müller Event Technology has responded to the increasing demand for virtual events with the launch of its Digital Live Events Portfolio, providing a comprehensive solution to virtual events.

“Special situations call for special solutions,” commented Jens Giessler, General Manager and Senior Partner of N&M. “We design technical solutions tailored to our clients’ individual needs. These could be a broadcast from the client’s own conference room, a congress centre or even in different venues; different formats such as a presentation stream or bi-directional transmission are also available.”

N&M’s customised streaming solutions enable participants to experience the occasion live despite current restrictions. The solutions are available in three different guises: one-tomany – ideal in the business field, for example for working from home; remote-meeting

– recommended for meetings with several participants in one location; and event-to-event – designed to link parallel events at different locations to allow interaction.

The stability, high level of security and performance of the IT infrastructure are secured

by N&M’s Information and Communications Technology (ICT) unit. The dedicated team of technicians who are remotely based in their Network Operations Centre (NOC) in Hanover monitor the process and, if needed, are available for support seven-day-a-week to ensure a trouble-free operation.

“We are your perfect partner for such prompt responses because we have a wide range of solutions that enable organisers to act quickly in a reliable and professional manner and in a quality that their clients need,” added Giessler.

Photo: N&M Dubai www.neumannmueller.com

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TECH PROFILE

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QIDDIYA

SPECTACULAR OUTDOOR PROJECTION MAPPING LIGHTS THE ICONIC TUWAIQ MOUNTAIN CLIFF, SERVING AS THE BACKDROP FOR A RANGE OF WORLD-CLASS EVENTS – NOT LEAST, THE 2020 DAKAR RALLY CLOSING CONCERT.

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Saudi Arabia has launched a slew of groundbreaking projects over the past few years – many of which have been featured in the pages of TPMEA. One of the most eye-catching so far is Qiddiya: a pioneering development on the outskirts of Riyadh that is set to become the Kingdom’s capital of entertainment, sports and art. Having started construction in early 2019, the site is set to feature a range of attractions, including theme parks, art galleries, sports facilities and a community of 5,000 residents.

Qiddiya Investment Company (QIC) called upon a carefully chosen selection of trusted partners to create an installation that would do this ambitious project justice, with Martin Professional Middle East (MPME) working alongside Barco and VIOSO to produce a spectacular piece of projection-mapping, using the iconic Tuwaiq mountain cliff as a canvas.

The outdoor display was initially used to unveil the G20 logo in December last year, interspersed with images of the Saudi Flag, profiles of His Majesty King Salman, Custodian of the Two Holy Mosques and His Royal Highness, Prince Mohammed bin Salman bin Abdulaziz, Deputy Premier and Minster of Defense and Chairman of the Board of Directors of Qiddiya.

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However, it wasn’t until the closing ceremony for the 2020 Dakar Rally that the projectionmapping was utilised to its full potential, with the functionality of the projectors tested to see how they would work under real event conditions.

As well as 150m-tall logos of Qiddiya, Dakar, GSA and SAMF, which were visible for miles around, the giant digital display showcased an eye-catching three-minute video that told the story of the genesis of the Tuwaiq Mountains, from its volcanic beginnings, through the Ice Age and right up to the modern-day entertainment metropolis that Qiddiya will become.

The roots of the project can be traced back to an initial request from the QIC to MPME, to project the Qiddiya logo on roughly 100 sq m of the face of the iconic mountain cliff. An onsite mock-up using two Barco UDX projectors was built to demonstrate the technological capacities, and the results were so convincing that the decision was made to extend the UDX projection coverage to a massive 440m wide – a total area of approximately 32,000 sq m, making it the largest permanent projection-mapping installation in the world.

Now a much larger undertaking, Barco’s Middle East-based projection-mapping

specialists joined forces with MPME’s design team to execute a comprehensive projection study and a high-resolution laser scanning of the mountain in order to determine the exact scale of the task in hand. Ultimately, the combined teams specified 84 Barco UDX-W40 projectors to cover the massive natural canvas.

With a 40,000-lumen output laser engine, which has a lifetime of 20,000 hours and provides high-colour performance due to its inorganic laser phosphor with assisted red and Xenon lamp colour performance, the Barco UDX-W40 was a natural choice for the project.

“They have astonishing brightness capabilities, outstanding colour performance and, over their long lifetime, they have proven to deliver stunning results,” MPME Project Manager, Ahmad Zaim said of the projectors. “They were always our preferred choice for the system installation.”

According to Zaim, the high-precision motorisation kit for motorised adjustment of the projector frame made it ideal for calibration.

“Also, as the system is used as a permanent install, the Barco toolset is essential in providing advanced diagnostics, which facilitates the troubleshooting process,” he added. “The modular design makes it perfect for fixing

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common problems without the need to dismantle the projector.”

Zaim added more detail on MPME’s role on the project. “Our scope was to design, implement and operate the outdoor projection system, including the system design for projection area coverage, projection enclosures, electrical and civil infrastructure, power plant supply and installation, testing, as well as commissioning the overall system components and content creation for various shows,” he outlined.

The rugged natural canvas presented a huge technical challenge, with every nook and cranny of the surface needing to be taken into account.

“One of our main challenges was specifying the projection points that covered the designated projection area, while having a uniform lighting distribution across the screen without any shadows,” Zaim revealed. “The civil works for power and data infrastructure in such difficult terrain was also a massive challenge.”

MPME allocated a team of 15 specialists to implement the project. After a thorough

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examination of the cliff and its surroundings, using the latest technologies such as drones and 3D laser scanning and modelling, the 84 projectors were distributed across nine locations using nine marine containers that were specially fabricated to meet the requirements of the job.

As is often the case with major projects in the Middle East, the timeframe was very tight – something that Zaim embraced rather than shied away from. “Given the scale of this project and the time window of 60 days to finish, we realised that there would be some serious challenges ahead of us,” he recounted. “Our team worked day and night to break all the walls we hit during the implementation. Seeing those 84 projectors producing a single blended image on the cliff for the first time was a breath-taking and unforgettable moment. It was a big achievement and made all the hard work worth it.”

Zaim described the “active collaboration” between MPME, Barco and VIOSO as a “key factor” to the success of the project, with the teams combining in all aspects, from studies of

the mountain and content design, to projection setups with specially developed mounting kits and eventually the live show. “It was crucial to choose our partners wisely,” he commented.

“The collaboration started from early on in the project design phase, having Barco onboard in different site meetings to specify the projection locations and match it to the studies.”

Media server and calibration system specialist VIOSO conducted site visits and a scale model of the cliff was produced in their labs in Germany to simulate the projection system installation. “This meant we could specify the steps that needed to be taken on site during actual installation,” noted Zaim.

“Having joint meetings between the client’s creative department, our creative partners [GTV] and VIOSO was essential in providing the right approach to match the content creation with the calibration screen,” he added. “The end result was an absolutely mind-blowing experience.”

As well as supplying all the media servers, VIOSO supplied the automated projector

AFTER THE SILENCE…

TOGETHER, WE WILL RAISE THE ROOF

UNTIL THEN, PLEASE STAY #SAFEANDSOUND

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calibration and content-mapping solution as well as the show control solution to run servers, projectors and content. “We also provided the required planning and on-site services to set servers and calibrations to action, as well as the on-site service to run the first shows, including the Dakar Rally concert,” stated Emanuel Züger, CEO of VIOSO.

Bringing more than 13 years of experience in providing adaptable auto-alignment systems for projectors, VIOSO’s team of specialists was perfectly placed to be able to adapt such a high number of projectors to the unusually rugged surface of the rock face.

“We were able to stack projectors pixelprecise, ruling out any hardware stacking that relied on shifting, panning or zooming,” Züger recalled. “We were also able to map content in numerous ways – both to ‘flatten’ the surface, and also to create optical illusions when watched from a specific point of view.”

Züger praised the performance of the projectors. “The whole batch worked right

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from the start – no replacement or last-minute changes were required,” he said. “The high performance of the calibration system was also key. Each scan fit from the first try – nothing was repeated or tweaked. Scanning of all 84 projectors was accomplished within three nights, which saved a great deal of time.”

Reflecting on what he described as VIOSO’s “largest project to date in terms quantities, scale and involvement,” Züger commented: “The project was a huge success; both for the client, with beautiful images that have been seen around the world; and for us, as it proved that we can deliver projects at this scale. Hopefully this will lead to more projects in the region.”

Commenting on the spectacular undertaking, Michael Reininger, CEO of Qiddiya, said: “We received a great reaction when we first used projection to illustrate the potential of Qiddiya at our ground-breaking ceremony. This inspired us to create an enhanced and sophisticated light show that uses the latest audio-visual technology that once again, highlights how

Qiddiya is set to become the Kingdom’s capital of entertainment, sports and the arts.”

DAKAR RALLY CLOSING CONCERT With the Tuwaiq mountain projection in place, the stage was set for Qiddiya to host the final round of the Dakar Rally, which took place on 17 January 2020. After the racing action saw Spanish driver, Carlos Sainz claim his third Dakar Rally title, the occasion was marked with a spectacular closing ceremony and concert, operated by Live Nation Middle East and featuring performances from Young Thug, Wiz Khalifa and DJ Snake.

“Everything that is being done here is working towards the Saudi Vision 2030,” James Craven, Live Nation Middle East President, told TPMEA. “This was a multi-stakeholder activation, with the General Sports Authority (GSA), as well as the Qiddiya Investment Company (QIC), so we had to be mindful that the event needed to fulfil the requirements of all parties.”

With the mountain projection set to play a key part in the aesthetic of the show, the brief

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for Craven and his team was to come up with a design that would show off the projection in all its glory.

“The projection was in place long before we got involved,” Craven revealed. “The brief was to feature the mountain and the massive investment they had made in lighting the rocks.”

The GSA, meanwhile, had two complementary visions for the project. “The first was for the design to have a Mad Max-type feel, which was absolutely achievable given the location, and the second was for the stage to be ‘in the mountain’,” Craven recalled. “Putting the stage in the mountain wasn’t feasible from a safety aspect – you can’t have something of this scale too close to a mountain like that – so we came up with a middle ground solution that gave the impression that the stage was a natural part of the landscape.”

The stage design was conceived by taking photographs of the surrounding mountains; an initial sketch was drawn, and the design was brought to life by PHNTM LABS’ Gabriel Fraboni.

“Gabe’s creative delivery was his principal approach on this project,” explained Project

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Manager, Jim Digby. “His creativity was vital to the final look of the stage.”

The timing of the show meant that most of the vendors and equipment that had been used for the recently finished Diriyah Season were still in place. “It was ideal to be able to roll straight from Diriyah Season into this project and into the Qiddiya site,” Digby recalled.

“The whole team was coming out of months on the ground to produce Diriyah Season, which finished just before Christmas. So, for many of us, we flew home to spend the holidays with family, then we were on a plane back to Riyadh straight after New Year.”

Following the success of Diriyah Season, Live Nation Middle East once again appointed MediaPro International as the technical production supplier, with the company delivering a complete production package including audio, backline, lighting, video, trussing and rigging as well as taking care of the overall show control.

“We had a great experience working with MediaPro again,” stated Digby. “They were very diligent, all the equipment works perfectly and, most importantly, the team was extremely

impressive. We really enjoyed the experience of working with them.”

MediaPro International’s Special Project Director, Hugh Turner, worked closely with Fraboni and his team to ensure that the stage design was as true to the original concept as possible. “Hugh worked closely with Gabe and his team to ensure that Gabe’s design was achieved exactly as he drew it,” commented MediaPro International’s Shaam Pudaruth. “This process took around two weeks of fine tuning, and the end result spoke for itself.”

Systems Engineer, Nitin Kurup specified a complete L-Acoustics sound system for the event. The main PA comprised 40 K1s, 16 K2s and 12 K1-SBs, split between two inner and two outer hangs to ensure even coverage throughout the audience, while a further 20 Karas and 36 KS28s were ground-stacked as front fills. A total of 32 K2s and 16 K1-SBs made up the delay PA, with 18 Karas and four SB118s used to cover the allimportant VIP deck.

On-stage sound was delivered by 16 X15 HiQs, with 12 Karas and four SB18s split evenly left and right providing side fill. MediaPro

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International also supplied backline for the concert, providing a Pioneer CDJ-2000NXS MK2, along with a DJM-900NXS2 mixer and a Technics SL 1200 MK2 turntable.

Control came in the form of two DiGiCo SD5s, with two Waves SoundGrid Extreme Servers allowing all the necessary plugins to be run. In-ear monitoring comprised a mixture of Shure and Sennheiser, with Shure PSM 1000 IEM eight-in-one kit as well as a Sennheiser SR-2050 IEM eight-in-one rack kit being deployed, while a Clear-Com Freespeak 10-in-one kit was used for internal communications.

Five LED screens were integrated into the stage design, with a central screen flanked by two screens stage left and two stage right.

A total of 1,154 panels of Gloshine 4.81mm LED were used, with 216 panels making up the central screen. Six NovaStar MCTRL 4K LED display controllers were used, with content running on two disguise 4x4pro media servers and programmed via a Barco EC-210 Large event controller.

The event had extensive lighting requirements, with riders from all three

performers’ LDs, as well as audience lighting and architectural lighting in order to accentuate Fraboni’s unique stage design.

Robe Mega Pointes were used extensively – 72 in total – with 24 hung centre stage, 12 each stage left and right and a further 24 for the floor package. More Robe fixtures featured centre stage, with 30 BMFL Blades and 30 Spiiders, as well as 27 TMB Solaris Flares and 30 Color Imagination LED Blinder 4100-CWs per side.

The left and right hangs were completed with a further nine TMB Solaris Flares and nine Color Imagination LED Blinder 4100-CWs per side, while the rest of the floor package comprised 24 Robe BMFL Blades, 24 CKC Lighting Y1640s and 34 Color Imagination PIXARC 1430T LEDs. EK Lights fixtures handled audience lighting, with 96 R3 LED EXF moving heads and 48 Color Ranger Q27E LED washes being deployed.

Architectural lighting came from 60 SGM P10s, 30 Robe BMFL Blades and 36 Color Imagination LED Blinder 4100-CWs, while four Robe Robin BMFL FollowSpot LTs highlighted all the action on stage. A final flourish of atmosphere was added by two Smoke Factory

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Fan Foggers, eight Le Maitre MVS Hazers and eight Kupo DF-500 Digi Fans.

Rigging requirements were handled by a selection of Lodestar motors, ranging from 500kg used for the majority of the flown lighting, to one-tonne for the majority of video as well as delay PA hangs and two-tonne for the main PA and outer audio hangs.

Sharing his final thoughts, Pudaruth said: “MediaPro has a long-lasting relationship with Live Nation and dealing with them is always straightforward. They are the world leaders in the international concert industry and we at MediaPro are proven in delivering world-class levels of production on the biggest stages in the GCC,” he added. “I could not be more pleased with the overall delivery of my whole team on the ground and in the office back in Dubai.”

Photos: Ob Panakal for MediaPro International, MPME, Barco www.martinpro-me.com www.vioso.com www.barco.com www.livenation.me www.mediaproav.com

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DUBAI INTERNATIONAL JAZZ FESTIVAL AN ECLECTIC LINE-UP OF INTERNATIONAL ARTISTS ENSURES THAT THE POPULAR DUBAI FESTIVAL HAS A MAINSTREAM APPEAL THAT EXTENDS WAY BEYOND TRADITIONAL JAZZ FANS.

Celebrating its 18th year in 2020, Dubai International Jazz Festival is one of the Middle East’s longest-running and most successful annual music events. Over the years, the festival has gained a reputation for bringing together some of world’s biggest names in music, on the most diverse line-ups seen anywhere in the region. With previous iterations of the festival starring the likes of Carlos Santana, Sting, Sandi Thom, James Blunt, Alicia Keys, Snow Patrol, Toto and countless others, this year saw the three nightly headline slots taken by singer-songwriter and former Fugees member, Lauryn Hill; US pop-rock band, One Republic; and soul legend, Lionel Richie.

For the second year running, festival organisers Done Events appointed MediaPro International as technical supplier, following the company’s successful delivery of lighting and video in 2019. This year, MediaPro’s involvement was stepped up a notch, delivering audio, lighting, video, camera, trussing, rigging and

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automation, as well as overall show control to the event. “MediaPro has a long-lasting relationship with Done Events,” explained the company’s COO, Shaam Pudaruth. “We get on very well with their overall team and dealing with them is always a real pleasure.”

Building on the previous year’s event, MediaPro’s Harold Fernandes and Miguel Galvao from Done Events collaborated on the stage design, while MediaPro’s Warren Lawrence and Hugh Turner fulfilled on-site PM and Special Project Director roles, respectively.

While each headline performer had a different floor lighting package on their rider, the majority of the heavy lifting was done by the main lighting rig, which remained in place for the duration of the festival.

Robe Spiiders, 70 in total, were the main workhorse fixture on the rig. According to Pudaruth, not only was the fixture “first choice” for stage wash lighting, but it was very useful when it came to making the stage stand out

during daylight hours, providing “some good eye candy”.

He commented: “It’s a fixture that is always very well received from international LDs on the various productions we’ve used it on.”

Pudaruth went on to explain how the team used ArKaos’ Kling-Net protocol to automatically configure the fixtures with visuals from the incoming VJs. “It meant we could feed the visuals from the VJ into the fixtures,” he added. “It really enhances the stage look.”

The rest of the main lighting rig comprised 70 EK Lights ORB 300s, 50 TMB Solaris Flares, 182 1m Pixel Strips, 20 50cm Pixel Strips, 74 Hybrid MP VH10 Beam fixtures, 22 MP V8 LED Profiles and 84 CKC Y 1640 fixtures.

Two MA Lighting grandMA2 full size desks were used for control, while an additional grandMA2 with wysiwyg was provided for the previsualisation suite.

“MediaPro supported the international lighting designers with the pre-production before

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they even landed in the country, through sharing of the show file for previs and plots,” Pudaruth explained. “We also had the previs suite on site to help them plot the show with the final touch-ups during their programming session.”

He added: “Harold handled the show, along with our Senior Lighting Crew Boss, Jose Pathrose; both are extremely well versed in terms of international lighting and festival rigs.

“They were alongside the international lighting designers during the programming and, of course, throughout the show. The overall feedback from all the international lighting designers was, as always, extremely positive – they were all incredibly happy with the setup and the team.”

With each headliner coming with different requirements, the MediaPro team had to be up to the challenge. “We had various floor and rig packages for each artist,” explained Pudaruth.

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“They all required specific attention as they all had completely different show files and ways of working. Having our team by their side every step of the way made them extremely comfortable.”

One Republic’s floor package rider comprised 12 Claypaky B-EYE K20s as well as two Smoke Factory Fan Foggers, four Reel EFX DF-50 haze machines and two DF-500 Digi Fans.

Lauryn Hill’s rider was slightly larger, comprising a range of Claypaky fixtures including seven Stormy 3000 CCs, six Scenius Profiles and four B-EYE K20s, as well as eight Robe MegaPointes, eight CHAUVET Professional Nexus 4x4 LEDs, six CKC Lighting Y1640s and four Martin

by Harman Atomic 3000 strobes.

The largest rider came from the Lionel Richie camp, with 12 Robe BMFL Wash XFs, eight Claypaky Mythos, 13 Stormy 3000 CCs, 12 SGM Q7s, and 20 two-way LED blinders, combining with two Smoke Factory Fan Foggers, two Reel

EFX DF-50 haze machines and two DF-500 Digi Fans to show the performer in his best light.

Complementing the light show were some special effects, courtesy of StageFX. SFX Technicians, Olly Yates and Charlie Creese oversaw the supply, which included 4G Flames for Lionel Richie’s set. “We added power upgrades to get a better height from the Flames,” Yates explained.

“These Flames were meant to be placed at the back of the stage, but due to their height and the amount of equipment that was back there, we ended up placing them on the monitor shelf at the front of the stage, where they were hidden from view and safer to fire.”

‘QUICK TO RESPOND’ As is often the case with shows at Dubai Media City Amphitheatre, the stage utilised video heavily, with a 8m by 8.5m centre screen flanked

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Esteban Perez, Senior System Engineer; Sunil Surendran, Senior Audio Engineer; Nitin Kurup, Senior Audio Technical Manager / System Engineer.

Below right: Keith Bernard, Lauryn Hill Lighting Designer; Harold Fernandes, MediaPro Senior Lighting Designer.

“L-Acoustics K-Series is one of the best PAs in the industry – it does what it says on the tin and that’s why we use it.”

MediaPro COO, Shaam Pudaruth

by two large 8m by 10m IMAGs, as well as a 41.5m by 2m header LED, a 41m by 50cm skirt LED and two 4m by 3m logo screens.

A mixture of Absen and Gloshine products were used to fulfil the extensive video requirement, with Absen PL Lite 4.8mm panels making up the IMAGs and logo screens, and Gloshine 4.8mm LED panels being used for the centre, header and skirt screens. Video also featured in the grandstand, with 180 Gloshine LS 8.33m panels used to create two header screens (50m by 1m and 20m by 1m), and

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60 panels of 4.8mm LED used for an 5m by 3m screen. MediaPro’s Senior AV Technical Manager, Neeraj Pola, managed the whole pre-planning, along with Sumesh Vasudevan, who was the Video Engineer on site for the show.

“The international artists had their own VJs, who played bespoke content on the screens,” Pudaruth confirmed. “MediaPro handled the content for the local acts and during breaks with the use of our extensive back catalogue.

Everything was run through our media servers.”

When it came to fulfilling the audio requirements,

Pudaruth only ever had one brand in mind.

“L-Acoustics has always given us the proper tools to make each show sound its very best,” he said, commenting on the decision to use a full L-Acoustics PA system. “K-Series is one of the best PAs in the industry – it does what it says on the tin and that is why we use it.”

The main hangs consisted of two K1SBs, 12 K1s and four K2s utilised as down fills, while the outer hangs comprised two K1SBs and 12 K2s, with 16 KARAs as front fills. “We used 40 KS28s for the grounded subs,” added Pudaruth.

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L-Acoustics boxes were also used at monitors, with two K1SBs, 12 KARAs, six SB118s and 12 X15s.

DiGiCo SD5s were stationed at FOH and monitors, as well as an Avid S6L, which was on the rider for Lauryn Hill.

Due to the location of Dubai Media City Amphitheatre, set amongst an urban jungle of high-rise buildings, the audio team had to be mindful of the landscape when designing the PA layout. “There is potential for some ‘slap-back’ to occur, with sounds bouncing back off the surrounding buildings,” highlighted Pudaruth.

However, having worked many a gig at the venue, the team – which comprised Terrence Collings, HOD Audio, who worked on the pre planning extensively with Nitin Kurup, System Engineer, and Sudhakar Madulla, who handled the monitors – were well accustomed to the requirements. “With the proper use of L-Acoustics Soundvision, we were able to visually

test different scenarios to achieve an optimal working solution,” Pudaruth commented.

“Proper planning and simulation are an extremely important aspect in terms of achieving the right design.”

Pudaruth went on to explain why, for him, the challenges are the most interesting parts of the job. “There are challenges with every show,” he admitted. “When you are working with many diverse acts from all over the world, there is bound to be something that throws up a challenge, but that’s what makes the job interesting. At MediaPro, we have a really good and professional team of technicians and operators. So, when any challenge arises, we are quick to respond and produce viable solutions.”

Due to the wide variety of acts on the bill, there was an extensive kit list of backline, IEMs, comms, microphones and even different mic stands brought in for each headline act –

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something that Pudaruth was keen to stress the importance of. “Ensuring that the artist is comfortable during the show is important to us at MediaPro, and therefore it is equally important for us to meet their technical requirements,” he stated. “We are proud of our comprehensive range of gear, which allows us to meet most of the artist requirements. From a backline perspective, we teamed up with MEI, who were fantastic in fulfilling artist requirements.”

Pudaruth concluded: “I could not be more pleased with the outcome. Technically it was a wonderful festival, with a state-of-the-art rig that highlighted the beautiful performances from the various artists. We’re very much looking forward to Dubai International Jazz Festival 2021.”

Photos: Ob Pankal for MediaPro International www.doneevents.com www.mediaproav.com www.stagefx.ae

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COMPANY PROFILE: BILD STUDIOS CO-FOUNDER ROWAN PITTS TALKS TO TPMEA ABOUT THE ORIGINS OF THE COMPANY, ADAPTING TO COVID-19 AND WHAT THE MIDDLE EAST CAN EXPECT TO SEE FROM BILD STUDIOS IN THE FUTURE…

With the live events sector currently facing its greatest ever challenge, the ability to adapt, diversify and innovate is more important than ever. Possessing all these qualities in spades, Bild Studios has gained a reputation as a leader in creative design and visual engineering. And with demand for developing technologies such as Extended Reality (XR) now at an all-time high, the company is utilising its skills and creativity to come up with solutions that cater to the rapidly growing market.

How is Bild Studios thriving in these uncertain times? To answer that question fully, we

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must first go back to the company’s roots, which were formed some years before the company was formally established in 2017. Pitts met fellow Bild Studios Co-Founder, David Bajt when he joined United Visual Artists (UVA) in 2011, with Bajt having worked for the company since 2008.

In 2012, UVA split into two companies; UVA, which carried on doing the creative work; and d3 technologies – the company we now know as disguise – which developed and supported the d3 software.

“We were part of the Special Projects team, helping clients with particularly challenging

assignments, seeing them through the whole process from concept to creation,” Pitts recalled.

As the company grew, it began to alter its outlook, which resulted in a change in roles for Pitts and Bajt. “When disguise became more of a product-based company rather than a projectbased company, our roles became much more about support,” Pitts reflected. “We would spend a lot of time writing user guides and putting on training sessions, rather than working on the onsite aspects of projects.”

So, in 2014 the pair left the company to set up their own independent practices. “We both

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worked as freelance disguise consultants, doing the same kind of work that we had been doing originally at d3, but independently,” Pitts said.

“We worked together with disguise quite tightly.

Because they had moved away from the projectbased work, they were more than happy to refer projects onto us. It was a natural progression.”

For the next three years, Pitts and Bajt worked on a range of projects – some together and some separately – and by 2017, it became clear that a unified approach would allow them to scale up and develop their operations to offer a more rounded service.

“We started talking about pooling our resources. I had bought some disguise servers and was renting them onto my projects. At that point we were just turning up on site, operating the media servers and then disappearing again and we were keen to get more involved in the process as a whole, making some of the early decisions,” Pitts recounted. “We felt that the skills we had would be useful in things like putting together projection studies and establishing all the details of the systems we were operating.”

And so, Bild Studios was born: a company blending technology and creative direction, specialising in visual engineering and creative design for live productions. Pitts explained that

the idea behind the company was tied into the evolving nature of a ‘video show’.

“Video shows had become much more than just 16:9 projection screens; they were now taking the form of complex projectionmapping productions and high-res LED surfaces, all requiring tens of media servers, along with real-time and interactive content production, as well as tracking technologies like BlackTrax and MoSys,” he explained. “These were all gradually becoming part of the ‘video’ remit.”

He continued: “The concept was to provide a single place where clients could come for specialist knowledge and equipment – specifically the media servers, tracking systems and workflows to bring everything required to realise these complex productions.”

Of course, building a company from the ground up is no mean feat. “We went through a transitional period when we first started the company,” Pitts acknowledged. “We were both coming from being freelancers, so there was still an element of us turning up and doing those last-minute operations jobs that we ultimately wanted to move away from.”

However, it wasn’t long before Pitts and Bajt’s vision for Bild Studios began to take shape.

“We did a couple of projects towards the start

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of 2018 that were much more all-encompassing – more like the kind of work we wanted to be doing – and that was a real change,” he said.

“The jobs became progressively bigger and more complicated from there.”

While Bild has grown its in-house team and freelance network to accommodate the increase in projects, Pitts was keen to stress the importance of not running before they could walk. “We’ve developed naturally,” he commented. “We added team members as the work increased. “At the moment we’re a team of seven full-timers, but we have a big pool of freelancers who we can call upon to fulfil a number of different roles.”

‘EVERYTHING’S GOT TO BE BIGGER AND BETTER!’ When it comes to the bigger and more complicated projects, the Middle East has become a particularly happy hunting ground for the company. “We did a few jobs in the Middle East as freelancers, and the market has grown for us from there,” Pitts explained. “We have got a very tight partnership with Creative Technology Middle East – that has been one of the biggest driving forces behind our growth in the region.”

With the company now doing between 30% and 40% of its work in the Middle East and

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Bild Studios Co-Founders, David Bajt and Rowan Pitts.

notable projects so far including the Pakistan Super League opening ceremony in Dubai, Bild is becoming a regular fixture on major jobs throughout the region.

“We’ve been lucky in that we’ve got a few regular clients who are pushing the boundaries in terms of what they are looking to achieve,” stated Pitts. “Everything has got to be bigger and better! It’s nice, because it provides interesting challenges. There’s the appetite for putting 400 projectors on site, having wider-than-ever projection canvases and insane resolutions.”

The increase in large-scale projects has seen the company use a range of innovative technologies, including disguise OmniCal. “If you’ve got hundreds of projectors on site, you need to look at new ways of getting those projectors set up a show ready,” Pitts explained.

“You might have four times the number of projectors on site, but you can be sure that the allotted load-in time is going to be the same. OmniCal is amazing for situations like this, because it allows us to calibrate and blend projectors with cameras rather than having to line up each one manually. That speeds up the on-site load-in massively.”

Another area where great strides have been made in recent years is XR – and that

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development has only sped up due to the current climate surrounding COVID-19. “The whole XR discipline has really taken off in the past couple of years, but the virus has really brought it to the fore even more,” Pitts noted.

“In a world where you can’t get live audiences together, companies are much more reliant on live streams. Inherently, streams tend not to be the most interesting ways of communicating with audiences, so anything that can make them more engaging is welcomed.”

He continued: “There are lots of interesting applications for XR technology in live streaming.

It allows the presenter to be transported from one environment to the next, with augmented graphics popping out from the floor, much like the election broadcasts that we’ve been seeing on TV for a while.”

Pitts added that this ability to deliver MR content within a live production environment has really only come about because of the development of real-time rendering platforms such as Notch and Unreal Engine, and their integration into media servers.

“This enables you to have the dynamic camera tracking and dynamic point of view,” he explained, adding that the company had recently invested in Mo-Sys camera tracking technology

as part of its move towards XR. “In parallel to that, disguise has implemented a number of features that make that whole workflow much more accessible and easier,” he commented. “XR is a big area that we want to push on and, with the current climate, it’s the perfect opportunity to establish that.”

While live productions are very much the bread and butter for Bild, Pitts explained that avoiding an overreliance on a single market is an important pillar of the company’s growth plan.

“There are a number of verticals that we are involved in, from touring concerts to corporate presentations, ceremonies, broadcast and film.

We also do a lot of work within the permanent install and architectural markets. The idea is to spread the risk and make sure that it’s all organic, natural growth.”

With a growing client list and number of exciting projects in the pipeline, the future looks bright for Bild Studios. “It’s all about finding new techniques and ways to become more efficient, which enables you to break boundaries and achieve what everyone wants,” Pitts concluded.

“If we can keep on doing that and continue to grow and diversify, then that’s the ultimate aim.”

Photos: Bild Studios www.bildstudios.com

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Top right: philanthropist, Carolyn Steyn; Above left: L-Acoustics Sales Manager, Tim McCall; Top left and above right: MGG crew.

FEED OUR CREW THE INDUSTRY IS BANDING TOGETHER TO PROVIDE ESSENTIAL SUPPORT TO FREELANCE LIVE EVENT TECHNICIANS IN NEED OF URGENT AID.

With all shows on the African events calendar either cancelled or postponed indefinitely, the industry has been left reeling from the effects of COVID-19. However, there are a growing number of examples all over the continent, of the live events industry coming together to help each other during these trying times, with online training, livestreamed events and plenty of charitable activity going on to support those in the greatest need.

A prime example of the industry’s generosity is the Feed Our Crew NGO initiative in South Africa. Founded by Johannesburg-based Tamsyn

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Strydom (a Project Manager from production and rental company, MGG), Kagiso Moima Wa Masimini (KG, Blackmotion Production owner) and Marcia Alves from We Are Boundless, the charity’s goal is to raise funds urgently for the temporary support of freelance live event technicians.

“The message that kept coming through was that people needed help,” Strydom recalled, explaining how the idea came about. “Initially, I started communicating with KG, and together our aim was to put together an appeal to the President of South Africa.” However, when it became apparent that any significant financial

help from the government was a long way off, Strydom, KG and Alves decided they needed to do something for themselves so, with the assistance of Gomolemo Madumo, Landy Yeatman, Sasha Raubenheimer and Vickie Whitehead, Feed Our Crew was born.

Strydom explained how the application process works: “Applicants are requested to provide a short motivation and two contactable references from industry professionals from the last four months, along with their ID number and contact details,” she said, adding that “those eligible for UIF do not qualify”.

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Working in collaboration with another NGO – People4Purpose, which provides individuals and families with basic necessities like food and clothing – donations are converted into R1,000 vouchers (around £50), which are distributed to qualified recipients via their mobile phones.

“This will enable them to buy groceries, electricity if needed, nappies or formulae, medication and their basic needs,” said Strydom.

Feed Our Crew’s Daria Higgins, who runs a normally busy events company, True North, commented: “There has been an immediate and devastating impact on the show and event industry across South Africa, and freelancers – the often-invisible backbone of that usually vibrant industry – are particularly badly hit.”

The organisation has already attracted donations from far and wide. DWR Distribution’s SOS Charity Fund has donated R50,000 to the cause; and Carolyn Steyn, South African philanthropist, actress, founder of 67 Blankets for Nelson Mandela Day and Classic FM1027 radio host personality, has donated R100,000.

“Everyone is fighting a financial battle right now, but there are those who are unable to feed their families, and this is where Feed our Crew comes in,” commented DWR’s Duncan Riley.

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“Although DWR Distribution is also going through a tough time, the money we’ve raised for the SOS belongs to the people and not to us. The SOS was established to help people in times like these; this is what it’s all about.”

And it’s not just South Africa that has been supporting Feed Our Crew, as L-Acoustics Sales Manager, Tim McCall has also been raising funds by cycling on Zwift from L-Acoustics HQ in Marcoussis, France, across all L-Group entities across the UK and Europe and back, totalling some 2,000km. Money raised from his cycling exploits was split between Feed our Crew; the PSA Welfare & Benevolent fund in the UK; and Support Act in Australia.

“This is affecting us all, but the most vulnerable are the freelancers who put in long, hard hours for little pay.” McCall pointed out. “No gigs mean no jobs. No jobs mean no money. And in places such as Latin America and South Africa, no money means no food.”

McCall reached out to both manufacturers and people in the live events industry who remain on full pay, as well as members of the public to donate to charities that are supporting freelance crew. “People across the world have been confined to their homes. Many of them

would normally spend money on concert or theatre tickets,” he said. “My appeal is that they take a little of the money that they would normally spend on show tickets and donate to charities helping those in need.”

At the time of writing, an incredible R248,000 has been raised for Feed Our Crew in total. More than 280 vouchers with a total value of R210,500 have been issued, and there are over 200 people still in line to receive assistance, with more coming in every day.

“We want everyone to realise that whatever the event – from an intimate wedding to a large international conference – it’s all the technicians who are working unseen and backstage on the production who ensure the magic happens to make it a special and memorable occasion,” stated Higgins.

She added: “I am truly inspired with how our amazing industry is uniting, collaborating and pooling resources and ideas to help each other out on a practical and human level.”

Strydom concluded: “People have been incredibly generous. I’ve even had donations from event companies that I’ve never heard of.”

Photos: DWR Distribution, MGG Productions www.feedourcrew.co.za

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REGIONAL ROUND-UP

FAMILY FEUD LIGHTING DESIGNER, JOSHUA CUTTS SPECIFIES ROBE ESPRITE FIXTURES FOR THE CLASSIC US GAMESHOW’S AFRICAN DEBUT. A hugely popular US show that has been running since 1976 and syndicated worldwide to over 50 different countries, Family Feud made its Africa debut, with the first South Africa and Ghana editions recorded in December 2019 and January 2020. Produced by Rapid Blue and filmed at the Urban Brew Studios in Johannesburg, lighting for the show was designed by Joshua Cutts, programmed and operated by Ryan Lombard and supplied by Blond Productions.

Cutts worked with Mauritz Neethling as his Associate LD and collaborated on a joint pitch with scenic specialist Dream Sets and Set Designer, Michael Gill to present a full technical and creative package to Rapid Blue.

Once their bid was selected, a collective decision was made to deploy 12 Robe ESPRITE LED profiles, which arrived just in time from

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Robe’s SA distributor, DWR Distribution. While some basic style guidelines from the US show were applied to the lighting design, with a similar colour scheme being kept, Cutts added some original and innovative aesthetic flourishes to make the presentation appropriate for these two African editions.

A Prolyte trussing structure was set up in the studio to ground support the set elements, which were very geometric and ordered, with a network of trusses flown in the roof to provide lighting positions.

The ESPRITES were used for all the front light – chosen for their high CRI and accurate shuttering. “It’s a very high-quality LED profile, with a fantastic light output that makes it extremely easy to get great-looking skin tones on camera,” Cutts commented. The set architecture defined the space, set a slick tone

and included multiple inbuilt LED elements – 6mm and 2.9mm LED and plasma screen surfaces – plus some LED pixel fixtures integrated onto the set with multiple LED battens. The highgloss black floor was very effective and reflective, and placement of light sources was crucial to make this work perfectly on camera.

In addition to the ESPRITES, there were 72 other Robe luminaires on the rig. A total of 48 LEDBeam 100s were utilised for rear uplighting of columns and other set pieces and for back-lighting the audience; 24 LEDWash 300s provided general front and back light; and 24 CycFX 4s were positioned for back light onto the contestants.

Lombard was impressed with ESPRITES, commenting that much of the time, he ran them at “between 15% and 40% intensity”. This enabled the cameras to enhance the depth of

REGIONAL ROUND-UP

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field and detail of the set – one of the looks that Cutts specifically sought to achieve.

The recording was shot with a colour temperature of 48K and with no tungsten sources at all on the rig.

Lombard operated all the lighting using an MA Lighting grandMA2 light console, which also fed the set video and graphics via a VPU into a disguise P3 media server.

The Technical Director was Rudi Boetha and the Executive Producer was Kee-Leen Irvine.

Reflecting on the production, Blond’s owner and founder, Christiaan Ballot commented: “I really enjoyed the teamwork and modus operandi of the three companies joining forces to create and working in unison to present a total environment.”

The company, which also supplied an L-Acoustics sound system to the series, has worked with Dream sets and Michael Gill on similar projects in the past and, Ballot added that it’s a relationship he is certainly looking to continue in the future.

Photos: Louise Stickland www.robe.cz

AYRTON APPOINTS BESPOKE ENTERTAINMENT SOLUTIONS AS SOUTH AFRICA DISTRIBUTOR THE DEAL SEES THE JOHANNESBURG-BASED COMPANY DISTRIBUTE THE FULL AYRTON RANGE ACROSS THE INSTALLATION AND RENTAL MARKETS.

Ayrton has appointed Bespoke Entertainment Solutions as its new exclusive distributor for South Africa. Based in Randburg, Johannesburg, Bespoke, has plans to expand into other major cities with strategic partnerships.

“Having recently taken on several installations and new technical personnel on a full-time basis, the door was opened to us for other opportunities, including becoming the distributor for Ayrton in South Africa,” commented Bespoke Entertainment Solutions’ Technical Director, Suren Lutchman explaining how this exciting new arrangement came about.

“With my experience mainly in sales, support and design of intelligent lighting solutions for the entertainment industry, I have always wanted to offer this service as well. Because the market within South Africa is very competitive and most of the major brands are represented, we didn’t focus too heavily on this area at first,” he added. “However, after a meeting with Ayrton’s Jonas Stenvinkel, the opportunity arose for us to consider the Ayrton range of products.”

Lutchman was excited about the potential he

found in the Ayrton range: “We believe Ayrton is ‘ahead of the game’ with its range of LED lightsource fixtures, compared to its competitors in the market,” he stated. “With the world in need of finding better, more efficient energy saving products – and not only in the entertainment industry – I believe Ayrton offers the best return on investment in our industry.

He added: “Ayrton products are very well designed, compact within their specific classes and offer a great return on investment. The LED engines are extremely well engineered, and especially suited to the South African market where reliability and energy consumption are key. Ayrton has a range that can substitute any discharge lighting fixture out there.”

Bespoke Entertainment Solutions will distribute the full range of Ayrton products across the installation and rental markets, with a core focus on key products that best suit the South African market.

Lutchman was highly impressed not only with the product range, but also the company itself. “During a recent visit to Ayrton HQ in

France, we immediately felt its warmth and genuine spirit as we entered the premises and heard how the company began and how its central focus has remained constant since the beginning. This was a big contributor to us taking on the brand and we think this is the perfect time to get this up and running. In the current climate, it’s going to be tough, but we have never shied away from a challenge, and we really can’t wait to get started,” he said.

“South Africa has always been a very important market, and we are delighted to have Suren and his team join the Ayrton family,” said Stenvinkel. “Suren has shown dedication and commitment, and we have spent much time together in South Africa and at the Ayrton HQ in Paris. Launching a new distribution in these times might seem odd, but I think this is the exact time to do it. Ayrton stands by the market and Bespoke through these times and we will all come out strong.”

Photo: Bespoke Entertainment Solutions www.bespokesolutions.co.za www.ayrton.eu

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MARGARET MWAMUKA MORE THAN 50 CHAUVET DJ FIXTURES ILLUMINATE THE GOSPEL STAR’S PERFORMANCE AT ZIMBABWE’S F.O.G AUDITORIUM. Renowned for her powerful voice and commanding stage presence, award-winning gospel singer Margaret Mwamuka creates a stir wherever she goes. Last year the star put on a performance at Zimbabwe’s F.O.G. Auditorium, and Sound Kalcha was tasked with coming up with a design that would stand up to Mwamuka’s legendary charisma.

Rising to the challenge, Sound Kalcha owner, Freeman Mugadza and Bulawayo-based designer, Mandla Khabo had to come up with a design that achieved the delicate balance of engaging the live audience, while also providing an attractive background for the DVD that was being recorded at the venue.

With that in mind, the pair selected 50 CHAUVET DJ fixtures for the final design, which were supplied by Audiosure of South Africa.

Washing the stage with a wide palette of complimentary colours and texturising it with gobos and crossing beam patterns, Mugadza reflected the moving power of his client’s music, without distracting from her performance. At the

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same time, he occasionally added bold specials to make the show come alive.

Key to helping Sound Kalcha achieve this design were the 20 SlimPAR T12 USB fixtures in the rig. Rigged overhead from upstage to downstage, the RGB LED washes filled a variety of roles during the concert. “We used them mainly to wash the stage with a variety of colours, but they also served us very well as dimmer effects and strobes,” Mugadza revealed. “The colours were really extraordinary, fitting for a world-class DVD show.”

Adding visual variety and texture to the stage for the camera and live audience were the six Intimidator 140SR fixtures in the rig. Flown on upstage truss, these high-output moving fixtures were used for dramatic backlighting in addition to creating crisp gobos. Meanwhile, the rig’s other moving fixtures, four Intimidator 350 Beams, were used to create dynamic crisscrossing patterns and dramatic down lighting effects.

The designers were able to achieve clear, evenly balanced front lighting from the six EVE E-50Z fixtures in their rig. They positioned these

LED ellipsoidal units from the venue’s balcony, relying on their zoom and framing shutters to obtain the desired throw distance, as well as for precise control of the projected beam. The warm white light from the EVE E50Z ensured that Mwamuka and her backup choir, as well as the band, all looked natural on camera.

For Mugadza, there were many lighting highlights of working this show for the gospel star.

However, one that stood out was the dramatic opening, created with multicoloured beams. “Our opening was amazing,” he said. “We also were very pleased with how we were able to transition from one scene to the next.”

Mwamuka’s performance is characterised by the different moods she is able to convey in each song, according to Mugadza. Each transition, it seems, takes the audience further along on their uplifting journey. And on this evening, a beautifully woven lighting design was with them every step of the way.

Photos: Sound Kalcha www.chauvetdj.com

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