TPMEA #035 - April/May 2022

APRIL / MAY • ISSUE 035

INFINITE NIGHTS: COLDPLAY

XR TECHNOLOGY PUSHES THE BOUNDARIES OF PRODUCTION

I

I

SYMPHONY UNDER THE STARS • COCA-COLA ARENA COMEBACK SEASON • DSF DRONE SHOW • GME EVENTS

advert 210x297 6mm T11 01.indd 1

04.11.2021 10:09:16

TPMEA

WELCOME...

TO TPMEA

All good things must come to an end The event that Dubai, the UAE, and, in fact, the entire Middle East had been building up to for years has officially come and gone. Expo 2020 (I dread to think how many times I’ve said or typed those words over the past six months) was a monster of a project that every bit lived up to its billing as ‘the world’s greatest show’. While it remains to be seen how the huge workforce parachuted in to help fulfil the demand will integrate back into a post-Expo Dubai, there’s no question that the megaevent brought a massive boost to the region at a time when it was most in need.

Our cover story for this issue comes from the heart of Expo 2020, Al Wasl Plaza, as NorthHouse’s Tom Bairstow explains how extended reality technology pushed the boundaries of production on Coldplay’s landmark show in the venue (page 48).

Elsewhere in the issue, we look back on a busy comeback season for Dubai’s Coca-Cola Arena (page 40), we’ve got a tech profile from a unique production in AlUla, Saudi Arabia (page 32), we catch up with our friends at GME Events (page 53) and Byrne Equipment Rental (page 56), and much, much more.

In other incredibly exciting news, the shortlist for the TPMEA Awards 2022 has been revealed! The winners will be announced on 19 May at Hard Rock Cafe Festival City, Dubai, and I for one cannot wait. Head to www.tpmeaawards.com to cast your vote and book your tickets.

I’ll also be visiting SLS Expo in Riyadh from 16 May, so feel free to drop me a line if you’ll be there, too. I’m very much looking forward to seeing you all soon.

Enjoy the issue.

Peter Iantorno Editorial Director

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

03

NO TOY NO JOY

20 TONS ON 30 METRES. THE NEW BIG BOYS TOY-TRUSS FROM HOF. The new BBT truss from HOF is the strongest aluminium truss in its class and can take a distri­buted load of 20 tons over a span of 30 metres.

It offers maximum flexibility with a minimum volume: the BBT has not a single welding seam and is completely bolted. This makes it possible to replace – for example – dam­aged truss directly at the venue. The BBT is available with 3 different bracing sets; depending on the load requirements, the appropriate bracing can be installed.

The truss can be dismantled very easily if necessary, and thus offers an incredibly low transport volume: up to 150 metres of truss can be transported with only one truck.

hof_bbt_anzeigen_print_TPMEA_rz.indd 4

PRO L I G H T + SOUND Hall 12.0 Booth D47

16.02.22 17:27

CONTENTS

CONTENTS 06 – FIRST LOOK: FLO AKINBIYI

Meet the host of the TPMEA Awards 2022.

09 – MIDDLE EAST NEWS

09

22

The latest news from the Middle East, including the World Defense Show, the DSF Resident Drone Show, and the world’s biggest kaleidoscope.

20 – EXPO 2020 NEWS

High-tech examples of innovation among the catalogue of pavilions on show at Expo 2020, including NMK, disguise and CT.

32 – SYMPHONY UNDER THE STARS AlUla’s Arch Rock serves as a stunning natural theatre for a special performance.

40 – COCA-COLA ARENA COMEBACK SEASON

32

40

Dubai’s largest indoor arena hosts a series of concerts during a busy comeback season.

48 – INFINITE NIGHTS: COLDPLAY LIVE AT EXPO 2020

NorthHouse’s Tom Bairstow explains how XR pushed the boundaries of production during Coldplay’s innovative Al Wasl Plaza performance.

53 – GME EVENTS: ONE YEAR ON

Peter Green looks back on a strong debut year.

56 – BYRNE EQUIPMENT RENTAL

48

56

TPMEA catches up with this industry mainstay.

60 – AFRICA NEWS

The latest news from Africa, including DWR Distribution’s AV Open Day.

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

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

CONTRIBUTING ASSISTANT EDITOR Jacob Waite Tel: +44 (0)161 476 8352 Mobile: +44 (0)7592 679612 e-mail: j.waite@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

ACCOUNT MANAGER Fran Begaj Tel: +44 (0)161 476 8360 Mobile: +44 (0)7852 336728 e-mail: f.begaj@mondiale.co.uk

DIGITAL CONTENT MANAGER 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

MONDIALE GROUP CHAIRMAN Damian Walsh

COVER PHOTOGRAPHY Coldplay by Expo 2020

www.tpmeamagazine.com

@tpmea_magazine

www.tpmeaawards.com

facebook.com/TPMEA_Magazine

www.tpimagazine.com

@tpmea

www.tpiawards.com

linkedin.com/company/tpmea

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

05

06

FIRST LOOK MIDDLE EAST

FLO AKINBIYI, TPMEA AWARDS 2022 HOST THE PRESENTER, PRODUCER, AND HOST FOR THE TPMEA AWARDS 2022 TALKS ABOUT HOW HE FELL IN LOVE WITH THE LIVE EVENTS INDUSTRY AND GIVES HIS TAKE ON WHERE DUBAI’S EVENTS COMMUNITY IS HEADED POST-EXPO 2020.

Ahead of his hosting duties at the TPMEA Awards 2022, taking place on 19 May at Dubai’s Hard Rock Café, MC, public speaker and communication coach, Flo Akinbiyi takes some time out to share his thoughts on the UAE’s events industry.

What sparked your interest in events?

The answer to that goes right back to my childhood. I was born and raised in a small town in Bavaria, Germany, and became a passionate snowboarder from the age of 15. After doing a ski season in Canada, I became a team rider at our local ski and snowboard fun park. I quickly went from being the guy who kept the jumps in shape and welded rails to organising events.

Meanwhile, I was also working at a local swimming pool, which had an artificial wave machine – one of only five in Europe at the time. One summer when there was no snow, I thought about how we could make the best use of this artificial wave, so I organised a competition to find the best riders.

I caught the bug, and my career has been linked to the live events industry ever since.

How did the move to Dubai come about?

I had been working as a freelancer with various events agencies while studying communications and event and sponsorship management. Once those studies came to an end, I reached a crossroads where I either needed to set myself up as a proper event agency and begin to service more clients, or I could get employed and go out and see the world. So, in 2010, I signed up with Avantgarde in Germany to get work internationally, and the first project they found for me was in Dubai. While I didn’t fall in love with the place on the first workday, by the first weekend, I knew it was where I wanted to be.

How did your career develop from there?

I continued to work with Avantgarde until 2012, when I switched to join Action Impact / George P. Johnson, where I took care of the IBM account for another two years. However, by 2016 I realised that I simply wasn’t happy being employed; I wanted to do something for myself.

So, I set about becoming a freelance events director, while also diversifying and working as a presenter and communication coach. Gradually, I began to focus more and more on the presenting and coaching side and now that is where most of my work comes from.

ME

Martin MAC Ultra Wash

Robe Forte

Martin MAC Ultra Performance SGM Q8

Elation Maximus

Elation Lucius

Ayrton Domino

Ayrton Perseo

SGM P6 grandMA3 Series K3 /

08

FIRST LOOK MIDDLE EAST

“Now that Expo 2020 is over, the events industry is suddenly going to be flooded with freelancers, who find themselves looking for work. It’s going to be tough for everybody to fit back into the ecosystem straight away.”

Flo Akinbiyi, TPMEA Awards 2022 Host.

How did you cope throughout the pandemic?

COVID-19 was a game changer for me, as it was the entire industry. Within two weeks, every single piece of business I had booked was cancelled. When you have your own small company and have all the associated costs to pay, it’s incredibly challenging. The way Dubai managed the situation was fantastic. The leadership was aware that things needed to keep moving and understood that business needed to keep flowing as much as possible, and without that, it could have been much worse.

How important do you think Expo 2020 was in being a catalyst for growth in Dubai?

ME

The whole Expo 2020 project has been amazing.

Dubai managed to create something that is truly world-class. The infrastructure that has been built for it won’t just die in the desert either – it will be used, and the area will be transformed into something new and exciting.

The only downside is now that Expo 2020 is over, the events industry is suddenly going to be flooded with freelancers, who find themselves looking for work. It’s going to be tough for everybody to fit back into the ecosystem straight away. However, it looks like there will be opportunities available for the FIFA World Cup in Qatar and, of course, Saudi Arabia. There are some incredible projects going on there and they

are still crying out for skilled and experienced events professionals.

How much do you value your industry links?

Even though I’m not directly involved with organising events anymore, I remain a part of the industry – and that is something I really value.

The regional events industry is a small, tight-knit community and without my network, I would find it much harder to be successful in my career.

I like to fully embrace my 17 years of experience in every job I do, and I never want to lose that connection to the industry.

Photos: Flo Akinbiyi www.flo-akinbiyi.com

REGIONAL ROUND-UP

09

CT BRINGS VIDEO SOLUTION TO WWE ELIMINATION CHAMBER THE COMPANY SUPPLIES OVER 1,300 SQ M OF LED FOR THE EVENT IN JEDDAH, SAUDI ARABIA. Screenworks engaged Creative Technology (CT) to deliver more than 1,300 sq m of LED and a fully redundant E2 screen management system for WWE – Elimination Chamber, which took place at the world’s largest freestanding super dome in Jeddah, Saudi Arabia.

The supply included the main entrance screen, structure legs around the ring, and the large screens situated above the centre of the ring. The impressive over-ring design consisted of four large LED screens that formed a 360° visual spectacle. LED was also used to wrap around the four truss tower legs.

“We used a fully redundant E2 screen management system to ensure the event was seamless,” said Senior Video Engineer, Quintin Posthumus. “A significant amount of planning and preparation took place months before the event, and it was incredible to see the immense piece of engineering come together. We have a dedicated team of engineers who worked hard to ensure that everything ran efficiently.”

Project Manager, Dan Hughes added: “We had 20 engineers on the ground, building LED for the large-scale technical production. The team were ready for any changing scope and last-minute editions. Thank you Screenworks for trusting us each year to make this a spectacular event.”

Photo: CTME www.ctme.co

ME

10

REGIONAL ROUND-UP

Third-Year Production Arts student, Aida Allowch; Sound Engineer, Febin Thomas; and Lead Sound Tutor, John Parkhouse.

SPAA AUDIO DEPARTMENT MAKES MAJOR INVESTMENT THE UPDATE INCLUDES THE FIRST DIGICO QUANTUM 255 TO BE PURCHASED AND DELIVERED IN THE UAE. Sharjah Performing Arts Academy (SPAA) has made a significant investment in its audio department, offering its students the opportunity to get hands-on experience with a range of industry-leading equipment.

The upgrade came on the recommendation of Lead Sound Tutor, John Parkhouse. “On joining SPAA, I embarked on a thorough analysis of existing stock and compiled a wish list of how it could be enhanced,” he explained.

The primary request was the newly released DiGiCo Quantum 225 console with optics, plus Dante and MADI DMI cards, as well as a DiGiCo SD Rack fully loaded with 32bit Stadius i/o cards and an SD Mini Rack fully loaded with Stadius i/o and AES/EBU i/o cards.

“I want to provide training and experience on the best equipment available, which is also chosen with long-term future-proofing a significant priority,” he said.

Parkhouse, who brings extensive industry experience to his role at SPAA, described the purchase as “major for an educational

ME

establishment”. He added: “It is crucial to provide access to the latest technology found in the best-equipped venues and shows regionally and indeed worldwide.

“Additionally, the DANTE capabilities and loading the racks with the 32-bit Stadius cards gives current, cutting-edge capabilities for optimal sound quality and interoperability.”

The audio department also purchased four Luminex Gigacore 14R units – which have been used to create an audio network for system control, optimisation, and DANTE/AVB streams in the institution’s main theatre – as well as two Apple Mac Minis, a Universal Audio x8 with ‘Ultimate 9’ plug-in bundle, and two Rational Acoustics SMAART Live systems.

“The computing, Luminex, Universal Audio and SMAART Live systems give access to deep dive into system design, networking, control, analysis, and optimisation,” Parkhouse outlined.

“We will also explore the excellent class-leading dynamics, EQ and effects plugins available from Universal Audio via the x8 in live, recording, and

playback scenarios.” The investment also includes a range of DPA microphones and accessories, including 16 4488 headset mics, 16 6060 lavalier mics, and a 4099 10-way touring kit.

“The DPA mics are chosen because they are simply the mic type of choice for most theatres, broadcast and live events of all kinds.”

According to Parkhouse, further upgrades are planned. “We are planning for further updates and enhancement of RF systems mics and IEMs, stage monitoring, stage line and patch systems, wired microphone stock, and potential revamp on recording studio capabilities,” he revealed.

“It’s exhilarating for me to be at an institution that wants to provide access to real-world, industry-leading equipment, allowing students the prospect to be trained and gain valuable experience in technology they will find at all the best rental companies and venues. Ultimately allowing them possibilities to feed into the industry within internships and upon graduation.”

Photos: SPAA www.spaa.ae

REGIONAL ROUND-UP

11

AGGREKO POWERS RIYADH SEASON CLOSING CEREMONY THE COMPANY PROVIDES 2MW OF POWER FOR THE FULL PRODUCTION. Riyadh Season came to a spectacular end for another year on 24 March, with a closing ceremony featuring DJ Rodge, Michel Fadel and Sean Paul. 360 Productions engaged Aggreko to supply power for the full stage production, which took place in Riyadh Boulevard.

“We designed the concert power, calculated the maximum load and created a layout for the client,” explained Regional Events Manager MENA, Martin Nichol. “We provided 2MW of power, along with all the equipment and crew to install and maintain the equipment whilst the concert was on. Our engineers were stationed on site to ensure that power levels were optimised and constant and the equipment-maintained operations in the most critical moments for the clients providing continuous power stress free.”

With sandstorms and high temperatures during the load-in, the Aggreko team overcame

the conditions to deliver to a tight deadline. An extensive inventory of equipment and cable needed to be delivered quickly – something which Aggreko is renowned for,” added Nichol.

“This is where our people took on the challenge in the design, transport and the installation of the power to cater for the event.”

Aggreko had two technicians working throughout the concert and a team of six local labour were assisting the Project Manager on the site. “During the event, we load shared generators to maximise the outputs and minimise running time of the generators,” Nichol explained.

Looking back on the project, Nichol was pleased with the delivery. We delivered precisely on the customer’s wishes, which meant that hundreds of entertainers could entertain the millions watching the action unfold,” he concluded. “We build partnerships rather than

conventional business agreements. It allows for trust to be created between us and customers, and it means that the customer can get exactly what they require with the minimum of fuss.”

Photo: Aggreko www.aggreko.com

ME

12

REGIONAL ROUND-UP

CTME EXPANDS LIGHTING AND AUDIO INVENTORY CREATIVE TECHNOLOGY MIDDLE EAST (CTME) INVESTS IN ITS LIGHTING AND AUDIO DEPARTMENTS, PURCHASING A RANGE OF AYRTON FIXTURES, AS WELL AS DIGICO QUANTUM 338 AND SD12 CONSOLES. Creative Technology Middle East (CTME) has invested in both its lighting and audio departments, purchasing a range of Ayrton fixtures, as well as DiGiCo Quantum 338 and SD12 consoles.

“Ayrton is recognised as a world-class brand that always pushes technology and design to the limit,” said Sam Connolly, Head of Lighting at CTME, commenting on the lighting investment.

“They are full of innovation, power, versatility, and unbeatable reliability and I am extremely excited to have these new fixtures added to our existing stock. The investment we have made is unique to the Middle East as we can now offer our clients premium lighting packages for all their indoor and outdoor events across the GCC.” JP de Vernon, Brand Manager at NMK Electronics, added: “After many hours of discussions and shoot outs, the Ayrton 3 series consisting of the Diablo, Levante and Karif LT became the clear choice, with the Perseo Profile adding the extra output needed to get as creative as it gets. We are extremely glad that one of the leading events and rental companies in the region has chosen Ayrton as their preferred fixture for their latest inventory upgrade.”

Michael Althaus, Global Sales Director of Ayrton, said: “We are very thankful and proud having CT as a new member in the fast-growing,

ME

global Ayrton family. An investment throughout the Ayrton range and not in just one particular product means a lot and confirms the right positioning of our product portfolio, both with IP20 and also IP65/66 solutions.”

The company’s recent audio investment means it is the first in the Middle East to stock the new DiGiCo Quantum 338. “As a long-time DiGiCo user, knowing what the British manufacturer represents in modern pro-audio, deciding to go with DiGiCo was easy,” commented Wissam Shaheen, Head of Audio.

“Quantum 3 now sits at the forefront of our new audio mixers inventory; this desk defines the future of sound mixing with features only a Quantum can deliver.”

He continued: “SD12 consoles have joined our control fleet, the most versatile mixing console on the market today, and S21 compact mixers, the ever so practical console that delivers every time. An extensive line-up of I/O options accompanies all our mixers from SD-Racks to SDNANO Racks and everything in between. We have ensured that every available slot is filled with the mighty Stadius 32-bit Pre-Amp/ DAC cards, with every connectivity option available.”

Chadi El Masri, CEO and Founder of 7Hertz, added: “7Hertz was honoured to be part of this milestone step taken by Creative Technology in

being the first in the region to acquire the new Digico Q338 console. We always meet at the common goal of better serving our end client by offering the latest in the new technology at the highest standards.”

“I am delighted that CT has chosen to go the DiGiCo route and have bought such a comprehensive and flexible system of consoles and racks,” commented Ian Staddon, Vice President of Sales at DiGiCo UK. “After meeting CT together with our distributor, 7Hertz, last September, we discussed their requirements to achieve their goal to expand to a ‘full service’ provider for the region. As such, it was very important to work together to ensure the right products were provided.”

Andy Reardon, Managing Director of CTME, commented: “We are committed to providing our clients with the very best full-service solutions, which is why we continue to invest in event technology in the region. We made this investment recognising that CT can be a onestop solution partner for our clients, ensuring quality products, a world-class bespoke service, and the best team on hand.”

Photo: CTME www.ctme.co www.ayrton.eu www.digico.biz

REGIONAL ROUND-UP

13

PROVISION AVL REBRANDS THE DISTRIBUTOR GETS A BRAND-NEW LOGO AND WEBSITE. Dubai-based distributor, ProVision AVL has launched a new website and logo.

“In these evolving times, we felt it was the time to modernise our brand image and identity, while making sure it represented our core values and vision,” stated General Manager, Kevin Boujikan. The new website integrates the distributor’s new brand representations, which include PMC Speakers, Procab, Argosy and FBT. “The intention was to make the website more interactive and better performing, while having the new brand representations successfully integrated into this new platform,” he said.

“We continue to evolve to provide a cutting-edge approach as a leading distributor across the UAE and the whole MENA and GCC region,” he concluded. “Now with a new look that reflects our brand identity and our core values, we promise to remain committed and continue to deliver the best products and support for our valued customers.”

Photo: ProVision AVL www.provisionavl.com

ME

14

REGIONAL ROUND-UP

WORLD DEFENSE SHOW 2022 PROTEC OFFERS COMPREHENSIVE VENUE AND TECHNOLOGY SOLUTIONS FOR THE RIYADH EVENT. While poor weather conditions including dust storms and high winds forced the cancellation of the grand opening ceremony and some of the planned aerobatic displays, some unique attractions generated high levels of interest at the recent World Defense Show (WDS) held in Riyadh, Saudi Arabia.

Protec was entrusted by its client, WDS, with the full theatrical and stage management along with complete scenic, staging, and technical production of the opening ceremony and a Command and Control Centre experience for this inaugural edition of the expo.

“We ploughed through various challenges and had everything ready, including four 12m by 7m mobile LED screens, scenic elements, audio, seating stands, live cameras, pre-filmed and edited video content and days of rehearsals to get the opening ceremony together, but the weather was against us. It was a real shame we couldn’t go ahead with this show,” explained Eddie Andradé, who managed the project.

“We did, however, proudly deliver all the shows for the Command and Control Centre experience, which was well-received by all the stakeholders of WDS and the visitors to the expo.

This was a unique theatrical production with an intense intermingling of technical content and live performances. The conceptual design and

ME

AV solutions were designed by our Technical Director, Nick Groves. Talent like his, along with the dedication and hard work of the entire Protec team both, on and off-site, constantly fending off various challenges, made this production the success it was and quite memorable.”

Spanning an 800,000 sq m site, the World Defense Show featured three large exhibition halls, outdoor exhibit spaces, dedicated demonstration and display areas, a purposebuilt 3km-long runway and space for static aircraft displays. Some 600 defence and security exhibitors from 42 countries took part in the expo, which was set up by the Kingdom’s General Authority for Military Industries, and 80 military delegations from 85 countries also took part.

With shows that ran up to five times per day, the Command and Control Centre was an interactive, immersive, and real-world C5ISR experience, which featured a theatricalised 30-minute audio-visual spectacle, combining live actors with highly engaging advanced virtual environments and constructive simulations.

Housed in Protec’s SUPAdome, the ultrarealistic future all-domains Command and Control concept, where Artificial Intelligence (AI) and Machine Learning (ML) algorithms employing super-computers operated alongside more traditional operational data manipulation

technologies, captured a ‘12-hour period of a national response’ when confronted with an imminent ‘strategic crisis’, simulating the future of interoperability at the highest levels. The show involved 31 actors and three stage management crew, along with a director and producer and nine tech crew, led by Nick Groves.

Elaborating on the choice of the SUPAdome, Groves explained: “This modular superstructure was a perfect venue solution. It is customisable, extendable, brandable and weather resistant.

It also has impressive rigging capabilities with rigging points throughout the high roof, and each arch able to support three tonnes.”

At capacity, the structure measures an impressive 36m wide, 84m long and has 15.8m of headroom as well as an internal weight load capacity of over 40 tonnes. “The versatility of the structure means that it can be used in different configurations to suit multiple event formats, from being used as a concert roof to a gala, theatre or as a corporate venue for events and exhibitions,” Groves added. “For the Command and Control Centre experience, we used a three bay extension (out of the possible eight bays) to cover an area of 36m by 54m with a bespoke entrance feature.”

Working closely with Groves, Production Manager, Pieter Smuts expanded on the main

REGIONAL ROUND-UP

advantages of Protec supplying its own structure and equipment directly from the company’s Riyadh facility. “It meant that we weren’t waiting on shipments or on another supplier to build the venue, so setup ran smoothly,” he said.

“The venue itself is unique – designed with event loads in mind and providing more weight loading than conventional temporary structures (marquees), we were able to implement the technical aspect without the usual restrictions, which in turn enhanced the final product.”

Along with the venue solution, Protec supplied a comprehensive technical and staging package, including L-Acoustics PA with a DiGiCo console, 180 sq m of curved Absen 3.9mm PL series LED screen, disguise media server, effects lighting, monitors, rigging, staging, tiered seating stand and fit-out.

One of the big challenges from Protec’s point of view was the venue location – some 70km outside of Riyadh. Restrictions on truck movements meant logistics needed to be carefully planned to ensure equipment was on-site when required. This meant equipment being loaded from Protec’s local warehouses – two-and-a-half hours drive away – and delivered

12 hours before installation.

The site was also very exposed – being a working airfield – so the crew were subject to everchanging weather, including regular sandstorms.

“We had to work on the project for several weeks prior to its confirmation providing conceptual designs, technical designs, animations, and graphic elements. CAD services provided the finalised site overlays,” Groves revealed. “Final designs were supplied by Protec as well as full implementation on site. Content was created for the screens by us, with 22 individual feeds required for the Command and Control Centre desktop screens. disguise was utilised for the main 30m by 6m screen matrix.”

WDS Project Director for the opening ceremony and the Command and Control Centre, Nick Mattingley stated: “Protec’s tenacity and diligence throughout this very difficult project

15

are highly commendable. Their solutions-based approach ensured every obstacle was met with options right up to the last minute. The final product exceeded everyone’s expectations. It was a pleasure working with the Protec team.”

Photos: Protec www.worlddefenseshow.com www.productiontec.com

ME

16

REGIONAL ROUND-UP

THE WORLD’S LARGEST KALEIDOSCOPE STUFISH ENTERTAINMENT ARCHITECTS UNVEILS THE RECORD-BREAKING INSTALLATION AT THE 2022 LEAP ONE EYE ON THE STARS CONFERENCE IN RIYADH, SAUDI ARABIA. Visitors to Riyadh Front Expo Centre for the 2022 LEAP One Eye On the Stars Conference were treated to a unique immersive experience – the world’s largest kaleidoscope. Within the installation, guests were exposed to scenes of Saudi Arabia’s natural environment layered with digitally transforming content that mirrors the country’s commitment and investment in technology moving toward the future.

At 40m long, 6m high and 3m wide, the kaleidoscope is the world’s largest of its kind, designed with seamless and warp-less mirrors to achieve an ever-expanding environment.

Representing the natural stratification of Saudi Arabia, the installation takes visitors on a journey

ME

from the bottom of the sea to the sky and stars above the Arabian Peninsula.

The installation was designed with two triangular entry and exit openings at either end that didn’t disrupt the seamless content reflected within the kaleidoscope, providing an immersive experience for all who walked through. To create the journey from the sea to the stars, MediaPRO 4.9mm LED floor and wall tiles were used, which were reflected by the large 6m high mirrors, creating the expanding environment.

“Our kaleidoscope is meant to represent how a simple and considered design, when supported with a material that can scale as intended, can return an experience that is far larger than what

was built and what is anticipated,” said MAciej Woroniecki, Partner at STUFISH Entertainment Architects. “We feel this is the epitome of efficiency and sustainability in architecture.”

Taking place annually in Saudi Arabia, LEAP is the global platform and unique event for future technologies. It is the place where progress accelerates the most and the latest cuttingedge technologies are getting adapted first. As well as the design team behind the mammoth installation, STUFISH were also the content designers of the kaleidoscope.

Photos: STUFISH www.onegiantleap.com www.stufish.com

REGIONAL ROUND-UP

17

BYRNE EQUIPS FORMULA E KSA BYRNE EQUIPMENT RENTAL KSA PROVIDES A RANGE OF EQUIPMENT SOLUTIONS, INCLUDING OVER 70 TEMPORARY BUILDINGS. Byrne Equipment Rental KSA was tasked by its longstanding client, Tarfat Alebdaa (Blink), to supply a wide variety of equipment solutions for the Formula E in Diriyah, Saudi Arabia.

The supply comprised over 70 temporary buildings, including mixed ablution units in multiple configurations such as VIP, People of Determination, and regular 20ft, 32ft and 40ft units, as well as cabins utilised as office space and ticket offices, reefers, and storage containers. Byrne also supplied water and sewage management services as well as 24-hour on-site support for the client throughout the event.

Photos: Byrne Equipment Rental www.byrnerental.com

AMAC PARTNERS WITH TAIDEN THE MOVE SEEKS TO BRING SUSTAINABLE BENEFITS FOR BOTH COMPANIES. AMAC has joined forces with China’s largest conference system manufacturer, Taiden.

The company behind various turnkey projects in the AV, lighting and control industry within the Middle East, Lebanon, North Africa and Asia, AMAC has already begun installing Taiden systems regionally.

“From previous experience, we have always seen and heard of Taiden’s quality and diverse profile,” stated Georges Tabet, Technical Manager at AMAC. “With the immense variability and customisation of products, we are now able to cater to a wider and global range of audience with the quality to back it up. We are very excited to be part of Taiden’s regional growth. To be able to work with a prestigious brand gives us the motivation to grow and confidently supply our clients with proper solutions.”

Taiden Vice President, Haitao Chen stated: “We believe our partnership with AMAC will bring mutual development and that the development will bring sustainable benefits to both parties. With AMAC’s wealthy experience

and professionalism, this partnership will allow us to drive far more business impact for our clients.”

Photos: AMAC, Taiden www.amacsarl.com www.taiden.com

ME

18

REGIONAL ROUND-UP

DSF RESIDENT DRONE SHOW SKYMAGIC PRODUCES THE LONGEST-EVER OUTDOOR RESIDENT DRONE SHOW, WITH 500 DRONES DELIVERING 54 SHOWS THROUGHOUT DUBAI SHOPPING FESTIVAL. Drone shows have become increasingly popular in recent years, with everything from brand activations to national celebrations making use of the futuristic aerial storytelling medium. In most cases, these shows are one-off performances experienced live only by the lucky few in attendance. However, Visit Dubai and DXB Live bucked this trend, tasking SKYMAGIC with producing the longest ever outdoor drone residency for the duration of Dubai Shopping Festival.

Taking place at 7.30pm and 9pm every night on Dubai’s JBR Beach, the shows celebrated the past, present and future of Dubai, against the iconic city skyline. A total of 500 drones from the SKYMAGIC fleet were used over the 54-show run, to explore specific parts of Dubai’s heritage and culture, while picking up on technological innovations across the region.

“This project was an exciting opportunity for us to run a show over a series of nights,” began Ollie Howitt, Creative Associate at SKYMAGIC. “Although the residency had to end early due to

ME

unrest in the region and subsequent flight bans, we still broke the record for the longest resident drone show. It meant that we could deliver that ‘wow’ moment repeatedly, and many more people could experience it than is possible with a one-off show.”

Howitt talked TPMEA through the process of advancing the residency. “Once the location, potential take-off and landing zone, flight parameters and aviation permissions were taken care of, we could then start a discussion from a creative standpoint about what story the client wanted to tell with the show,” she recalled.

“For DSF, there were three distinct shows, which all had different storylines. It was a case of working closely with the client to understand what they were looking to achieve and then guiding them on how we could turn that into something visual with the drones.” The show explored concepts based on Dubai’s future, including AI, robotics and the newly tested ‘flying car’. Other motifs focused on key parts of Dubai’s heritage, such as the Arabian coffee pot, a falcon,

and the Al Sadu pattern. Complemented by the music of David Guetta’s Titanium, the dazzling display drew significant footfall to the area.

The Creative Associate explained the importance of previsualisation when it comes to making sure that on-site changes are kept to a minimum. “The only tweaks we had to make to this show were a couple of minor lighting alterations,” she revealed. “We often work with clients for two to three months in the lead up to a show and we always give them an accurate representation of what the show will look like, so there are no surprises when we get to site. That back-and-forth process is important to get the creative finalised in advance.”

SKYMAGIC uses bespoke software to programme its fleet of drones, which is also developed entirely in-house. Their system automatically calculates collision-free flight paths and optimises trajectories, enabling unique LED light design to be in sync with music time code.

“We build and fabricate all our own drones, which are 3D printed,” Howitt noted. “Our fleet

REGIONAL ROUND-UP

19

SKYMAGIC Creative Associate, Ollie Howitt.

is now in the thousands and it’s growing all the time, so we can do multiple shows in different locations at the same time. During DSF, we had one fleet in Dubai and another in the UK for the London New Year’s Eve show.”

With such a large fleet, the company can offer increasingly complex and creative shows.

“The more drones you have, the more resolution you can achieve within the images and the denser the scenes can become. It also offers the possibility of having a split fleet, which allows quick cuts from scene to scene,” Howitt explained, adding that when it comes to drones, more doesn’t always mean better.

“It gives you more freedom, but there are other parameters that come into play such as flight space and take-off areas. It doesn’t always require several hundred drones to achieve

something creative and striking.” Looking back on the project, Howitt was especially pleased with the fact that it fulfilled the team’s creative ambition. “This was most apparent in the third part of the show, which was based around Dubai’s future and was designed around the soundtrack to David Guetta’s Titanium,” she noted. “It was about building up and releasing energy until a climax, which was a huge, explosive 3D moment. The show was something I’ve wanted to explore for a while in terms of it being conceptual and abstract, using beautiful 3D forms that are hard to explain until you see it in real life. That is when the drones are performing to their potential – when you’re exploring those ever-shifting shapes and movements. That’s what stood out for me as the biggest achievement from the residency.” The Middle East has proved

a happy hunting ground for SKYMAGIC, along with its sister company, UK-based creative studio, NEWSUBSTANCE, which has worked on numerous high-profile projects in the region, including Expo 2020 and UAE National Days.

“The region is so exciting because the ambition is there, and it is always pushing to be the frontrunner. They are always advancing technology and improving,” Howitt stated.

“There’s an appetite for bold, new ideas – anything that’s audacious in design. It’s a great fit for what we’re trying to do as a creative studio, pushing the boundaries of both our technology and creativity. We hope that we will continue to do more and more work in the region.”

Photos: SKYMAGIC www.skymagic.show www.newsubstance.co.uk

Entertainment management that delivers the full package from page-to-stage. Turn your ideas into a reality!

Talent Booking | Full Show Production | Creatives Show Callers | Stage Management

@weareenergie w: weareenergie.com e: hello@weareenergie.com

ME

20

EXPO 2020 ROUND-UP

NMK BRANDS FEATURE AT EXPO 2020 AN ARRAY OF NMK BRANDS POWER SEVERAL PAVILIONS, BARS, AND COMMUNAL SPACES ACROSS THE SITE. From the 192 country pavilions featuring a range of innovative installations, to the host of bars, restaurants and communal areas packed with high-end equipment, Expo 2020 is a veritable treasure trove of audio-visual technology. The megaproject has brought a glut of work for the AV industry, with many companies in the industry experiencing a major boost throughout. One such company is NMK Electronics, which has seen the products it represents used extensively throughout the vast site.

NMK-distributed brands including Allen & Heath, Bose, BrightSign, Denon, Epson, LG,

Ex

Neutrik and Shure appear across various areas throughout Expo 2020, including the Indian, Argentinian, Danish, Colombian, Australian, Egyptian, and USA pavilions, as well as several communal areas including Al Wasl Plaza.

“We had many enquiries because of Expo 2020 and one thing that has always worked in our favour is the number of premium brands in our product portfolio,” stated Sanal Das, Key Account Manager at NMK. “Integrators benefit because we’re a one-stop shop. They don’t have to co-ordinate with four different vendors to get microphones, mixers, consoles, and speakers – we have them all covered. We can

offer a solution that fits perfectly with what the requirement is and the fact that our brands are well known and respected adds a lot of value for the end-user.”

One venue that has been especially well served by the company is the Garden on 1, sports bar. Working with systems integrator, AVITCO, the NMK team designed a complete audio and video distribution solution, covering four zones and two outdoor terrace areas.

“This is one of the projects that we are extremely proud of as it is a complete and working solution of a bar within Expo 2020,” said AVITCO’s Sunil Kumar. “It would not have been

EXPO 2020 ROUND-UP

possible without the support of NMK – they worked closely with our team to meet the scope within the given timeline.”

NMK’s Jithin Jose, who oversaw the project, explained that the main challenge was the tight timeframe. “Everything needed to be finished within a month,” he recalled. “It was in the peak time just before the start of Expo 2020 and product availability was extremely scarce.”

Due to the time constraints, all the cable work and brackets were installed as quickly as possible, then the fixtures were delivered in two batches as they became available. “Even much of the programming was started before all the units arrived,” he revealed.

Despite the short time and limited product availability, the NMK team provided an extensive solution, including Bose ArenaMatch Utility and DesignMax loudspeakers, Shure SLX-D digital wireless systems, LG 65UH5F screens, as well as several products from the likes of Neutrik, Denon and Peerless AV. “We also provided proper training for the non-technical staff who would be operating the system day-to-day, and they found the operation pretty easy,” he reflected.

“Everything in the system is controlled via iPad,

and each element can be controlled separately.”

Bringing the conversation back to Expo in general, Das explained how the project had been a big boost for the entire industry. “Apart from the increase in sales for the products that went into site, Expo has also helped the public gain a better understanding of what the capabilities

21

of this technology are,” he commented. “People experience the incredible technology at Expo, and they come back to us and say they want their spaces to change. It has been a real eyeopener for many end-users.

Photos: NMK Electronics www.nmkelectronics.com

FIBERFOX briDge

The four channel FIBERFOX 4CH briDge and FIBERFOX

No splicer, no expertise required for installation.

2CH briDge are the first ever chassis connectors which

Suitable for Lighting, Network, PA, Video, Broadcast, Defense &

converts a standardized LC Patch cable into an expanded

Government, Railway and Petrochemical.

beam solution. It acts as a “feed – through” and fits into

Easy patching with common patch cords.

standard D -size shell.

Very compact design-fits in every D-hole just like OpticalCON. IP68 Waterproof even without a protective cap.

Middle East Leading AV Distributor

Email: info@nmkelectronics.com | T: +971 4 266 5244 Website: www.nmkelectronics.com |

NMKelectronics

Ex

22

EXPO 2020 ROUND-UP

DISGUISE POWERS IMMERSIVE EXPERIENCES AT EXPO 2020 THE VISUAL STORYTELLING TECHNOLOGY COMPANY HAS ITS SOLUTIONS ACROSS A RANGE OF PAVILIONS. For many of the countries and companies represented at Dubai’s Expo 2020, the top priority was a pavilion that told a story, immersing visitors in a unique cultural experience. It’s no surprise, then, that the technology of visual storytelling technology company, disguise powers a multitude of these pavilions – including, but not limited to, the UK, Belgian, Hungarian, USA, DP World, ENOC, and Mastercard pavilions.

A prime example of disguise’s technology in action comes from the Hungary pavilion.

Inspired by the country’s natural thermal waters, two disguise vx 4 media servers together with disguise’s projector calibration system, OmniCal, powered 12 Panasonic projectors on two different projection surfaces to allow visitors to experience being immersed in water. “disguise was the only media server in the market that was capable to simultaneously playback 12 projections with one signal unit at a full HD signal,” said Antal Balazs who, as System Engineer for Special Effects, set up the projections powering the pavilion.

“There are a lot of customisable settings in disguise,” added Assistant Engineer, Andras Asvany. “This helped us get through differences in measurements. You can customise anything on

Ex

site and evolve and adapt to new situations.”

Another world-class pavilion powered by disguise was the UK pavilion, which, with its advanced machine-learning algorithm, used words donated by pavilion visitors to generate a cumulative collective poem illuminating the pavilion’s 20m-diameter façade.

Creative Technology Middle East (CTME) is the official live events audio-visual partner. In the pavilion structure, LUX Technical provided the controlling ‘brain’ that put the poetry on display.

At the same time, the system LUX Technical created provided all this data back to the visitor on their own device. Moving image design studio, Luke Halls Studio, with the help of LUX, ensured that the data the algorithm provided was able to be displayed on the different screens throughout the pavilion – forming the collective message on the front façade and the donated words in the Choral Space of the pavilion.

The team used media servers supplied by LUX, which shared all the data from the algorithm and then received the data back by cloud server.

Data was transmitted via OSC streams into Notch, which was integrated with two disguise 4x4pros to drive the digital content. “We’ve been able to achieve seamless NDI integration into the disguise

Designer software to cue the poems onto the pavilion façade via Notch,” explained Zakk Hein, Associate Video Designer for Luke Halls Studio.

Technology from disguise also powered the Belgian, USA, DP World, ENOC and Mastercard pavilions. CTME used four disguise 4x4pros and one disguise solo media server to power the DP World pavilion, and two disguise 4x4pro and one disguise solo media server to power USA pavilion. disguise also powered some corporate pavilions including the LED setup in the Mastercard pavilion, with technical elements provided by system integrator, AVI-SPL Middle East. CTME also used a disguise 4x4pro and vx1 in the ENOC pavilion, which explores the principle of energy as an atomic force.

Powering high-quality playback as well as interactive and generative content, disguise unlocks limitless visual creativity through technical integrations, providing a rock-solid solution for installations around the world. This is why so many technologists and designers turned to disguise to power the immersive experiences in Expo 2020’s pavilions in a spectacle that has delighted over 20 million visitors worldwide.

Photos: Expo 2020 www2.disguise.one/disguise.expo

Image credit: Al Wasl Dome, Expo 2020

Create stunning visual experiences Our hardware on software solutions have powered some of the world’s most complex creative projects over the last twenty years.

In our latest guide, you’ll discover the unique disguise ecosystem, how it works and how it is the key to infinitely scalable content.

Get your guide

24

EXPO 2020 TECH PROFILE

CTME SHINES AT EXPO 2020 CREATIVE TECHNOLOGY MIDDLE EAST (CTME) DEPLOYS EXTENSIVE AV SOLUTIONS ACROSS MULTIPLE PAVILIONS, INCLUDING DP WORLD, USA AND ENOC.

CTME’s journey with Expo 2020 started over three years ago when the company partnered with various world-class contractors to deliver AV system integrations solutions across multiple pavilions including DP World, USA, and Emirates National Oil Company (ENOC) to name a few. The CTME team also provided AV support for live events at pavilions such as DP World, Lebanon, UK, and Emirates. Alongside this, the company provided full video control, media servers and playback solutions across two of the main stages at Expo 2020 – Dubai Millennium Arena and Jubilee Stage – which hosted some of the largest concerts with local and international performers.

“Our journey started back in 2019 when we won the contract, direct from Expo 2020, to supply and integrate the immersive projection and audio installation at Al Wasl Dome situated at the heart of Expo 2020,” said Andy Reardon, Managing Director of CTME, looking back on the mammoth project. “We then won more pavilion contracts involving well known activation consultants including Jack Morton (ENOC), The OpenLab (DP World) and Thinkwell (USA).”

CT provided systems integration of the audio, video, lighting, and control systems for DP World pavilion. Andrew Nu, CTME’s Business Development System Integration, described the delivery. “The contract for DP World pavilion was awarded to our System Integration team

ME

in 2019 by DP World and we worked alongside The OpenLab, which was the creative agency for designing the pavilion. The award was due to our bid’s technical understanding, delivery of service and competitive pricing. To have been awarded this design and build contract by a government body is a proud achievement for CTME – especially as this is a legacy District2020 project.”

Based around the concept of ‘Making Trade Flow’, DP World gives visitors a unique insight into the world of global trade. The pavilion is made up of five floors – the lower four floors are public visitor experience, while the fifth floor is for the DP World senior management to host VIPs and government officials.

Three of the levels are inspired by the recurring themes of Expo 2020 – Mobility, Opportunity and Sustainability. All floors deliver interactive experiences and galleries that are designed to educate, enthuse, and inspire guests on how trade impacts their everyday life.

The central atrium is four storeys high, with a spectacular waterfall centrepiece. CTME installed the 18m by 10m Unilumin 2.9mm LED screen, L-Acoustics SYVA audio system, and a range of Vari-Lite moving head fixtures around the space.

“One of the main challenges was the coordination of the LED screen in an open atrium given a short timeframe. This took precision; it was rewarding to see the result,” expressed Danny Lord, Project Manager. “The next challenge

EXPO 2020 TECH PROFILE

25

ME

26

EXPO 2020 TECH PROFILE

was ensuring the content ran smoothly across the 8K display. Days of off-site testing were conducted in parallel to the site installation, at the CTME offices, to allow the content creators and CT’s technology specialist time to test the integration and content performance.”

Visitors entered the building via a fourstorey external escalator taking them directly to the fourth floor. Here, CT installed a 44.5 sq m Unilumin 2.5mm LED screen underneath a glass table, which had on top acrylic models of shipping and transport deployed across the globe, including a scale model of DP World’s Box Bay, a new and intelligent storage system. This glass landscape table was backed by a 50.4 sq m Unilumin 2.5mm LED screen, with 15in Litemax displays for a content ribbon on the table showing a history of transport and flow of goods

by DP World. This area was driven by disguise 4x4pro media servers.

“Another challenge was the design of the glass screen on the table,” Lord recalled. “Heat from the LED table and backing wall had to be considered. We had to ensure that the LED didn’t melt the printed acrylic models. Weeks of planning and coordination with the fit-out contractor and model makers ensured we met safety standards and kept the display intact.”

As visitors followed the exhibit round on this

ME

level, there was an area with a 10.8 sq m curved Unilumin LED screen, which displayed plans for the Virgin Hyperloop system. Other technologies delivered by CT include Lightware video over IP transmitters and receivers, Litemax LCD display, Iiyama HD 10-point touchscreen, and Apple iPads with stand and interface. Audio meanwhile utilised QSC ceiling speakers including subs, powered by QSC eight-channel amplifiers. In the Mobility Gallery situated on the third floor, CT installed a bespoke 14m-wide Unilumin curved LED wall and a six by two array of LG narrow bezel LCD displays with a touchscreen overlay.

The interactive table was a large touchscreen, where up to six people could play games at any one time. Ultrasonic Acouspade speakers were mounted above each game participant, giving them directed individual audio in the position they played along the table.

On the second floor, guests encountered various LG interactive screens with game-like content using Orbbec depth cameras capturing user interactions as part of this experience.

Neumann speakers provided individual audio content to each user’s location.

The Flowlab Gallery on the first floor was an educational space for schools and universities, laid out in the style of a gameshow.

CT installed two Epson 15K projectors to display

the gameshow content onto the front wall; this was triggered through disguise and QSC Q-SYS. Substantial show control integration programming was needed in this space to connect the custom game content, video playback and external input triggers.

“This was a design and build contract with the creatives giving us a vision; it was our responsibility to make it work,” explained Peter Herring, Head of Engineering for System Integrations. “We designed cost-effective technology, bringing the ideas to life. At each step, we collaborated with the client, stakeholders and creatives.”

Lord added: “Working on this project has been a pleasure. We have a great team and a fantastic relationship with our client. Going back to DP World’s tagline ‘Making Trade Flow’, the entire pavilion flowed seamlessly from the moment you entered, through the floors and ending at the beautiful atrium. The AV throughout flowed flawlessly.”

General Manager, Lee Forde commented: “Our Journey with DP World did not end at the installation. CT was awarded the contract to operate the pavilion daily as well as enhancements delivered by our live event team.

We had a dedicated team delivering live events and offering AV support throughout Expo 2020.”

EXPO 2020 TECH PROFILE

USA PAVILION When design and production agency, Thinkwell Group was looking for an AV integration partner for the USA pavilion, the company met with CT to see how it could deliver its expectations. “From the outset, the Thinkwell team were clear about what they wanted.

They provided CT with visuals and plans of their dream pavilion and engaged with us to see how we would deliver it,” recalled Herring. After meeting with Pete Ford, the Creative Director for the pavilion, CT was appointed by Thinkwell to provide systems integration of audio, video, lighting, and show control systems.

“Having robust designs from Thinkwell allowed our engineers to develop the technology from Thinkwell’s concepts,” Herring said. “They knew what they wanted, and we knew how to deliver.”

On entry to the pavilion, guests were taken on a moving walkway to the first exhibition – the Statue of Liberty Torch in the centre of the room surrounded by an immersive projection experience showcasing the history of the ‘Land of Opportunity’.

For the projection, CT installed 16 Epson projectors running off 7thSense media servers. Eight projectors were mapped onto the torch, while the other eight were used to project onto the polar array that surrounded the space.

As visitors moved out of this first exhibit, they made their way along the ‘transition area’ before reaching the second exhibition.

The transition area held artefacts that are important to the USA such as the first ever English translation of the Quran that was given to President, Thomas Jefferson. This Quran is over 280 years old and has never left the USA before now. CT had many meetings with The National Archives about UV protection as this is a priceless artefact. “One of the challenges we had was to ensure the right type of lighting was used as the National Archives have a particular set of requirements,” Herring said. “We used ETC lighting fixtures, which were designed specifically to light the precious artefacts in this area.”

In the second exhibition area, guests were shown the impact of American innovation and how it has shaped the world. This was achieved through projection-mapped content along a 30m-long curved 3D embossed wall. CT deployed Epson projectors running off a 7thSense media server to create the spectacular projection, along with architectural lighting including Vexica dynamic pixel lights and ETC LED profiles.

The third exhibit space conveyed how American innovation has created opportunities all over the world, from the impact of the internet to smartphone technology and much more. The immersive technology here comprised 12 Unilumin cubes, Leyard EcoDot4 P80 and custom steel fabrication to make up four sets of LED cubes stacked on top of each other, which rotate 360°.

Low-resolution LED mesh could also be found along the back wall displaying content, while the floor and ceiling were covered in mirrors. This area was fed from disguise media servers, and QSC speakers provided consistent ambient audio throughout the space.

Vexica flexible LED strip, CHAUVET Professional Cyclamps, and ETC fixtures created the atmospheric architectural lighting.

On entry to the fourth exhibition, the moving walkway ended and visitors made their way into a vast hall. The previous three exhibition themes echoed through this space, culminating in ‘The sky is no longer the limit’. The space had 15 Epson projectors with playback from disguise media servers, 72 channels of audio and the roof was made up of 96 sq m of LED panels. A full mechanical automation system transported the planets, Moon, Earth and other astronomical features around the roof void.

The fifth exhibit focused on the USA’s national parks, highlighting the country’s trillion trees initiative to illustrate the proactive response to climate change that is being driven at the

27

Re-defining durability in professional audio products, the IS-Series Weatherized delivers pristine audio in every extreme environmental condition. With full corrosion resistance and an IP55 rating, a long lifespan is ensured.

Visit: ADAMSONSYSTEMS.COM

ME

28

EXPO 2020 TECH PROFILE

highest level. CT installed 51 Traxon Technologies lights, 16 ETC Source Four LEDs, eight ETC track heads and five ETC track fixtures to illuminate the large canvases on the walls. QSC pendant speakers were used for the audio narrative.

In the sixth exhibition space, NASA gave permission to have live feeds from its control centre, with images from Mars displayed on an LG ultra-stretched screen. “I woke up one morning and saw a meeting invite on my phone from NASA. The whole experience was surreal,” Herring recalled. “I had a meeting with NASA and Thinkwell’s Creative Director; they gave plans around what they wanted the display to look like. This was enough for me to go back to my engineers and create their vision.” Another focal point was the life-sized replica of the Mars Rover, which was surrounded by content screens displaying live data from NASA. Outside of the pavilion was a life-sized replica of the Falcon 9 SpaceX rocket, which had

ME

content projected on it telling the story of the USA’s space race. CT installed Epson projectors and used CHAUVET Professional lighting fixtures to illuminate this area.

“Discussions took place in the planning stages about where small lights would feature in the rocket garden, but there was nothing to illuminate the rocket,” Herring explained. “Our engineers came back with a plan to install IP-rated moving heads that would scan up and down the rocket to create an iconic look.”

Lord added: “In the peak of summer, with temperatures soaring above 45°C, our engineering team installed around 300-pixel dots on the façade of the building behind the façade stars. To mitigate the risks, we implemented our summer working plan to ensure that our staff worked safely and healthily. Working with a professional creative team was an absolute delight and seeing the result after two years is one of the biggest highlights for me.” Pete Ford, Creative Director

for USA Pavilion, concluded: “CTME brought our vision for the US pavilion to life. They delivered it on budget, but there’s more to it than that – they brought fresh ideas, insights and enthusiasm that become more than the sum of the project’s parts.

From the minute that we met with Peter Herring and the CTME team, we knew that they were the right fit for this project. They helped us create something that punched above its weight and delivered real results not just for Thinkwell, but for the US Department of State.”

ENOC PAVILION Another Pavilion that CT worked on was the Emirates National Oil Company (ENOC) pavilion.

This pavilion’s theme of ‘Reimagine Energy,’ drew on the design of oil storage tanks with five distinct structures or ‘houses’; each of these houses took visitors on a multisensory journey through four narratives – Discovery (what energy is), Harness (what energy enables), Collaborate (what energy

EXPO 2020 TECH PROFILE

needs), Reimagine (what energy promises). The pavilion occupied a plot of approximately 2,000 sq m and was built using 700 tonnes of steel.

CTME was commissioned by ENOC and its creative consultants, Jack Morton, to provide systems integration of the audio, video, lighting, and control systems.

CT installed over 46 sq m of exterior curved LED screen on the façade of the building. Due to the façade already having been designed and built, CT’s engineers only had 254mm of space to fit the LED screen within the gaps on the façade.

The team took on the challenge and suggested a product that would fit the designed and fabricated façade with ease.

Upon entering the pavilion, visitors travelled through a mirrored tunnel with an immersive audio and lighting experience. CT installed an L-Acoustics audio system and CHAUVET Professional accent lighting throughout.

House One was a dark, cinematic space where visitors learned about the history of ENOC through a video presentation shown on a 14m by 5m curved LED screen. House Two meanwhile was a projection-based space, with Epson L1755

15k projectors. A large button in the centre of the house activated the experience, triggering CT’s show control platform delivered through disguise servers. The projection allowed visitors to interact with touch painted areas on the perimeter wall.

House Three comprises an interactive Unilumin UslimII LED central totem tower situated in the middle of room, surrounded by a circular 8m interactive ROE Visual BM5 LED floor. The LED floor content changed, visitors moved around and 3D depth cameras mapped users onto the LED totem tower. Around the LED floor were eight podiums that contained a holographic display that visitors could interact with using hand gestures.

The final house had CHAUVET Professional lighting fixtures and two Epson EB-L1755U laser projectors blended onto a domed circular projection surface. Ambient audio was delivered from L-Acoustics speakers.

ENOC also had another space dedicated to government and industry stakeholders to host VIP events – the ground-floor multipurpose space, which could accommodate around 60 people.

This space could be used without an operator and when required for more complex events,

29

there was a lighting desk, audio desk, and video a switcher to operate the technical equipment, which included Epson EB-L1755U laser projector, L-Acoustics SYVA speakers, as well as moving light fixtures. This flexibility allowed the area to be used for everything from simple presentations to more ambitious shows.

Andy Reardon, Managing Director of CTME, summarised the company’s involvement in the landmark project. “Expo 2020 has been an exhilarating journey right from the offset. Our dedicated teams worked around the clock to deliver state-of-the art technical systems across all our pavilions,” he concluded.

“The work at Expo 2020 reflects our ethos of pushing the boundaries with new technology, and this was achieved through the pavilions, delivering technical solutions across Jubilee and DMA stages as well as installing 252 laser projectors and 432 speakers for the immersive experience at Al Wasl Dome. As the journey comes to a close, we are absolutely delighted to see the results and be part of this impressive project.”

Photos: Expo 2020, CTME www.ctme.co

Ex

THURSDAY 19 MAY HARD ROCK CAFE - FESTIVAL CITY

PRODUCTION MANAGER OF THE YEAR

LIGHTING ENGINEER OF THE YEAR

Sponsored by

LIGHTING DESIGNER OF THE YEAR Sponsored by

James Crute Nadine Manning Mick Stevens Samantha Stevens

Steve Buller Ayan Duisembay Darion Garish Travis Gillespie

Sam Connolly Aiden Kobus Sean Crawley George Gilfillian

LIVE AUDIO ENGINEER OF THE YEAR

CORPORATE AUDIO ENGINEER OF THE YEAR

VIDEO ENGINEER OF THE YEAR

Sponsored by

Sponsored by

Marlon Alcoreza Dana Beaudin Martin Chiervo Michael Salvador

George Forsyth Theodore Gkiantsis Ryan Kearns Myburgh Muller

Kiran Tope Vincenzo Torriani Scott Walker Chris Wimbush

VIDEO CREATIVE / DESIGNER OF THE YEAR

RIGGER OF THE YEAR

SFX ENGINEER OF THE YEAR

Sponsored by

Simone Salamanca Haitham Taha Chris Tully Alexander Wood

AV PROJECT MANAGER OF THE YEAR

Sponsored by

Rowel Aguilar Max Bagehorn Richard Hoare Artem Schneider

Sponsored by

Charlie Creese Jakub Michalik Rodolphe Saleh Olly Yates

SYSTEMS INTEGRATION PROJECT HYBRID/VIRTUAL EVENTS SPECIALIST OF THE YEAR MANAGER OF THE YEAR Sponsored by

Jamie O’Brien Miles Piper Ghanim Williams Karen Zeindl

Peter Herring Danny Lord Markus Schmidt Thomas Schmidt

Rudi Buchner Miguel Galvao Stefano Milan Dhyaan Parikh

THE NIGEL BEATON STAGE MANAGER OF THE YEAR

EVENT COORDINATOR OF THE YEAR

SITE INFRASTRUCTURE MANAGER OF THE YEAR

Poppy Ballon Ebaad Ali Pascha Alessio Picco Joshua Spencer

Yousef Albitar Wei-Li Chen Zyra Kaye Moster Abigail Pido

Fawad Albulushi Nathan Manning Gregor Murray Jaco Smith

TEMPORARY STRUCTURE TEMPORARY POWER SUPPLY PROJECT MANAGER THE YEAR ENGINEER OF THE YEAR Sponsored by

Devan Bezuindenhout Richard Lucking Mirza Siljegovic Alex Wuerfel

EVENT PROJECT MANAGER OF THE YEAR Sponsored by

David Angelini Aaron Brown Christopher McMahon Daniel Shaw

Abdel Bendaoud Stephanie Buller Jowita Szablowska Bjorn Thirup

ENTERTAINMENT OUTSTANDING EVENT THE TPMEA EVENTS & AV MANAGER OF THE YEAR PRODUCTION OF THE YEAR INDUSTRY RECOGNITION AWARD Sponsored by Sponsored by

Tyler Davis-Smith Shelley Frost Ebonie Platfoot Ryan Poerner

Expo 2020 Opening Ceremony Arab Cup Opening Ceremony UAE 50th National Day MDLBEAST Soundstorm

Serge Huber Lorraine Ludman Andy Reardon Katie Veira

THE EINO BACKSTAGE AWARD Jayson Arzadon Mariappan Nainar Cathy Athey Jodie Pearson

For Sponsorship and General Enquiries contact Fran f.begaj@mondiale.co.uk VOTE NOW AND BOOK TICKETS AT WWW.TPMEAAWARDS.COM

SPONSORED BY

BAR SPONSOR

TICKETING PARTNER

SUPPORTED BY

32

ME

TECH PROFILE

TECH PROFILE

33

SYMPHONY UNDER THE STARS ALULA’S ARCH ROCK SERVES AS A STUNNING NATURAL THEATRE FOR A SPECIAL PERFORMANCE FROM ITALIAN SONGWRITER AND PIANIST, DARDUST.

ME

34

TECH PROFILE

An ancient city full of natural wonders deep in the desert of northwest Saudi Arabia, AlUla is hardly the first place that springs to mind when it comes to hosting world-class concerts.

However, since the Royal Commission for AlUla (RCU) announced its vision to responsibly develop the historic location as a world heritage destination centred around conservation and culture back in 2017, the area has played host to several high-profile productions, concerts and art installations.

The latest show to grace the historical site was Symphony Under The Stars; a combination of classical and electronic music, lighting and special effects, performed by Italian songwriter and pianist, Dardust – along with his two musicians and 22-piece orchestra, Ensemble Testori – under the spectacular backdrop of Arch Rock. The

ME

RCU engaged Balich Wonder Studio (BWS KSA) to produce the show, which in turn brought in Creative and Show Director, Marco Boarino to the project. “The brief was extremely simple and very open,” he told TPMEA. “We were to host a show that combined classical and electronic music in a beautiful location somewhere in the AlUla desert.”

The first task was scouting of the location.

“Considering the site-specific show that I wanted to make, the location was the most important thing for me,” Boarino added, noting that the scouting process began around October 2021, going through many options before finally hitting upon Arch Rock. “For me, it was perfect,” he said.

“It was a dream location for a show like this.”

The majestic rock formation served as a natural theatre for the concert, creating a

seamless connection between the environment and the performance. As is often the way on unusual projects like this, the location came with its own set of unique challenges.

“The site is absolutely beautiful, but it is basically lost in the desert, reachable only by a one-hour bus ride followed by a 30-minute off-road journey from the nearest small town,” Boarino revealed. “It was a huge logistical challenge, but everyone understood what we were trying to achieve and knew it would be worth the effort. The client loved the idea, so they built some roads leading up to the site to make the project possible.”

With such an impressive natural landmark to build the show around, Boarino was keen to ensure that nothing upstaged the natural beauty of Arch Rock. “When I’m working on a

TECH PROFILE

site-specific project like this, I always work with respect to the location,” he said.

“There were some initial thoughts to have a big stage and a grandstand for a large audience, but this would not have fitted with the aesthetic we were trying to achieve. We decided to take the challenge to go in a different direction, with the orchestra spread out around 12 different small platforms, and the audience seated low

down on pouffes to give that authentic desert experience.” The Creative and Show Director took his inspiration from the natural architecture of the arch-shaped rock, as well as the incredible stargazing on offer in the remote dark-skied desert location.

“The idea was to avoid any large structures wherever possible,” he recalled. “My brief to the set designers [Matteo Oioli and Dario Bruno of

35

design collective, MAR+IO] was to imagine that stars from thousands of years ago had fallen in this spot and tonight they would come to life.”

‘BRUTE FORCE WAS NOT NECESSARY’ Lighting was handled by ACT Lighting Design, with Lighting Designer, Koert Vermeulen, and Lighting Programmer, Luc De Climmer, heading up the project. “I have worked with Koert many

ME

36

TECH PROFILE

“We weren’t looking for the brightest or most powerful fixtures – we were really focused on producing clarity through the right positioning.”

Koert Vermeulen, ACT Lighting Design.

times,” Boarino shared. “We work very well together and have the same feeling about how a show should be created. We are both very passionate about the visual side of the show and we often inspire each other.”

Vermeulen shared Boarino’s vision of keeping infrastructure to a minimum, opting instead to use a heavily floor-based lighting design. “We wanted nothing in the air, but in the end, it was essential for the audio department to have left and right towers to accommodate the PA, so we made a compromise,” he shared.

“Apart from a few fixtures on those towers, everything else was on the floor, which meant it was an unusual setup, with positions that are not used that often in shows of this type.”

A key part of the brief was to maintain the dark skies that make for such impressive stargazing in the area. “We decided to position

ME

all the fixtures at a less than 25° angle, which meant that nothing was firing directly up into the sky,” he noted. “I committed myself to only have anything above that 25° angle for a maximum of seven minutes per hour. It meant that the audience could enjoy the lightshow and the stargazing at the same time.”

The lighting inventory included Claypaky Sharpy and Mythos, Robe Spiider and BMFL, as well as SGM P5 and P10, GLP impression X4 Bar 20 and EK ORB 300 fixtures, all controlled using an MA Lighting grandMA2 full size console. “Brute force was not necessary here,” Vermeulen said of his fixture choices.

“We weren’t looking for the brightest or most powerful fixtures – we were really focused on producing clarity through the right positioning.”

In fact, the lighting element that Vermeulen most impressed with from this show was a

fixture that rarely grabs the headlines: the Lucenti BlackWave. A 20mm pitch RGBW pixel-controlled LED bar, the BlackWave was integral to the overall design, with the fixture forming the diamondshaped backdrop to the stage platforms.

“When you look at that incredible rock, it looks almost like a diamond shape that has been cut off at the bottom, so I imagined how the rock would be if it continued in the same shape under the ground. I took that shape and multiplied it to give that precise, mathematically correct feel,” Vermeulen said, explaining his design inspiration.

“We 3D printed our own Hexagon connectors so we could position the BlackWaves in the angles we wanted. They are very small and light, and they allow you to make architecturally strong designs without the need for a substructure.”

ACT Lighting Design hired Amsterdam-based Live Legends to produce The BlackWaves content.

TECH PROFILE

37

The Symphony Under The Stars team, including Koert Vermeulen, Dardust and Marco Boarino; Creative and Show Directer, Marco Boarino.

“There were around 230 BlackWaves looks, all designed completely from scratch,” Boarino noted.

“We were very demanding in what we asked for and the Live Legends team were extremely professional and enthusiastic to make this project live up to the creative brief.”

The visual spectacle was rounded off with lasers, designed and supplied by Super FX. “We put nine 30W lasers out there, which was more than powerful enough,” Vermeulen noted. “I didn’t want a volumetric EDM style for the lasers,”

Boarino added. “I wanted to take a very graphic and mirrored approach.”

‘A TRULY MAGIC MOMENT’ All the equipment – apart from the BlackWaves and lasers – was supplied by MediaPro International. The PA comprised 18 L-Acoustics KARA, six KS28 and eight KIVA, with DiGiCo Quantum 7 at FOH and monitors. “We also created a network redundancy loop to avoid single point failures, using Luminex systems,” stated Jose Fali,

MediaPro Saudi Arabia Sales Manager, noting that all the systems were linked using single mode fibre. “A pre-visualisation suite with an MA Lighting grandMA2 light was also provided with WYSIWYG.” Unsurprisingly for a concert taking place in the middle of the desert, the weather played its part, with swirling sandstorms eating into valuable setup and rehearsal time. “The health and safety team from BWS KSA monitored the weather constantly and our entire setup schedule was modified daily to ensure completion,” reported

ME

38

TECH PROFILE

“It’s all about telling the story – there is storytelling in everything I do, and I feel we achieved this with Symphony Under The Stars.”

Marco Boarino, Creative and Show Director.

Fali. “The entire team was on high alert, and we had stagehands on standby who could quickly secure and cover equipment in case of a storm. It was incredibly satisfying to pull off a spectacular event with BWS KSA after all the days of hard work in such a spectacular location.”

For the creative team, thankfully much of the hard work had been done prior to arrival on site. “Marco had already spent a week with us in Belgium when we went through all the pre-programming and visualised everything in Syncronorm Depence²,” said Vermeulen. “By the time we arrived on site, everything was cued on

ME

timecode and ready to go.” Of course, this wasn’t much consolation for the musicians, who weren’t able to get on stage for a rehearsal and sound check until 3am on the day of the show.

“The musicians were frustrated with the sandstorm, but they really wanted to do everything properly and the fact that they came in at 3am to rehearse with the show taking place at 8pm that evening speaks volumes about their professionalism. Everybody pulled together and they knew it was the only way to do it,” Boarino praised, looking back on his favourite moment of the project. “By sunrise on the morning of

the show, we had everything perfect, and the musicians were playing in this incredible setting with the sun rising behind them – it was a truly magic moment.

“The music of Dardust was perfect,” Boarino added. “He is very famous in Italy, but certainly not known in Saudi Arabia. However, I picked him for this project because his style fit the brief perfectly. He comes from a classical piano background, but he has always been fascinated with electronic music. His style is a mixture between classical and electronic, but not in the sense of an EDM remix of Beethoven or Mozart

TECH PROFILE

39

– he has a symphonic approach to the composition.” Much to the Creative and Show Director’s pleasure, the AlUla audience seemed to agree with his assessment.

“I have worked in Saudi Arabia for a few years now and I know how the audiences generally react. They are still relatively new to live music, and they would certainly not have attended a concert like this before. The biggest satisfaction for me was that everybody was stood up and dancing by the end.”

Boarino’s overall aim is always the same when it comes to working with music or performing arts. “The most important thing for me is to tell a story with the show,” he said, reflecting on the creative process. “To create something that is nice but has no point to it doesn’t make sense. It’s all about telling the story – there is storytelling in everything I do, and I feel we achieved this again with Symphony Under The Stars.”

For Vermeulen, the project was one to look back on fondly.

“We put on a show in a remote location in the middle of the desert, with sandstorms leading right up until the day of the show, but with the right systems in place and the right team of people, it really didn’t feel like that much of a challenge,” he concluded.

“Even with the crazy weather, everything worked out well.

Photos: LUCA PARISSE @ RISK4SPORT & 7200 COLLECTIVESTUDIO www.experiencealula.com www.balichwonderstudio.com www.marcoboarino.com www.actld.com www.mediaproav.com

7 Production and Gravity Media are thrilled to announce their strategic partnership in the lead up to the world’s biggest football tournament in Qatar 2022. 7 Production is at the forefront of the biggest events happening in the MENA Region. With the largest fleet of Outside Broadcast Trucks and the first to introduce 4K to the region, the team specialises in the customisation and integration of technology according to the client’s specific requirements. For the World Cup, 7 will be offering it’s renowned team of technical personnel and a huge array of medium and large sized HD/4K Outside Broadcast Trucks, the smallest being twelve+ cameras. All trucks have SNG capability for Live transmission along with specialist ENG, 4G and Remote Cameras.

For more info please email enquiries@7production.net or call 8007773 or visit WWW.7PRODUCTION.NET

ME

40

TECH PROFILE

COCA-COLA ARENA COMEBACK SEASON COCA-COLA ARENA HOSTS A SERIES OF CONCERTS DURING A BUSY COMEBACK SEASON, WITH A RANGE OF INTERNATIONAL STARS, FROM THE KOOKS TO TIËSTO, TAKING CENTRE STAGE.

ME

TECH PROFILE

41

ME

42

TECH PROFILE

Coca-Cola Arena continued its emergence from the post-pandemic haze with a busy 2021/2022 events season, which saw the multipurpose venue host numerous shows and events, from sports to comedy, conferences, and concerts. After a string of successful shows under the banner of Dubai Shopping Festival (DSF), the arena continued its resurgence with performances from British indie rockers, The Kooks, on 27 February, followed by legendary DJ, Tiësto, on 4 March.

With such a packed and varied schedule, it made sense to bring in a festival package of equipment that would be capable of handling the various shows planned for the venue. “Our journey with Coca-Cola Arena began when we were awarded the Dubai Shopping Festival tender,” opened Sameer Rahman of Flair Event Services, which was appointed to provide a turnkey technical solution for the run of events.

“The design had to be adaptable enough to be

ME

used for a range of purposes, from Bollywood artists to EDM, Arabic and rock ’n’ roll.”

The first task for Rahman, along with Flair Technical Director, Marno Snyman, was to go through each of the incoming artists’ technical riders and assess what kind of overall production would be required. “There was quite a difference between some of the shows and we had to find a way to standardise the rig while also satisfying each artist’s requirements and making sure it would be impactful and varies throughout the run,” Rahman explained.

The lighting rig was built around three straight trusses, with a Doughty ladder system used to add multiple elevations and increase the visual impact. “We wanted to do something a little bit different to the standard festival package, so we used the Doughty system to drop sub-hangs from each truss, which carried extra clusters of fixtures,” Rahman explained.

“This made a simple rig comprising three straight

runs of truss look like a rig that had multiple elevations, adding different layers of beams and effects on the horizontal plane. It was a creative design solution that looked very impactful while minimising costs.”

Included on the rig were Robe Spiider and LED Beam 150, Claypaky Mythos and Stormy, Martin by Harman MAC Viper Performance, and CHAUVET Professional Strike 1, as well as hybrid 280W moving head fixtures and BL200WW twoway blinders, all controlled by an MA Lighting grandMA3 Full Size console, with a grandMA3 Light for backup.

One of the main challenges for the Flair team was programming different looks and feels for each event. “While most of the headline acts had their own incoming lighting designers who we supported in the lead up to and during the shows, when it came to any support acts, we were responsible for creating the overall look and feel,” he said, noting the use of Syncronorm

44

TECH PROFILE

Depence² and Vectorworks for the bulk of the previsualisation work.

The lighting rig wasn’t the only adaptable asset, with LED also a major element of the design for many of the shows. “The LED screen configuration was another area where we focused on creating different looks from event to event,” Rahman said. “It varied hugely from show to show depending on each artist’s requirements.”

Cameras were also supplied for several shows, with The Kooks team utilising four Panasonic AG-HPX500 P2 cameras – three positioned on stage and one at FOH. “They wanted to layer effects onto the live feed, so we had four live feeds running through our Resolume media servers,” Rahman reported.

In addition to the arena’s existing JBL VTX A12 system, Flair provided d&b audiotechnik SL-SUBs

ME

for the Tiësto show, as well as M4 monitors and D20 amplifiers and Sennheiser G4 IEM systems.

A range of audio control solutions were supplied depending on the artist, including DiGiCo SD10 and Yamaha CL5 consoles.

For backline, Flair worked with its longterm partner, MEI, which sourced most items locally. “We had great support in terms of getting the right backline equipment,” Rahman said.

“Working with a dedicated backline supplier to ensure we get the standard and quality that top international artists performing in an area expect made our lives a lot easier.”

‘A COMPLETELY DIFFERENT BALLGAME’ The Kooks show represented the first foray into music for Dubai-based promoter, GME Events.

Better known for its comedy offering, with shows

from the likes of Jack Whitehall, Michael McIntyre, and Jack Dee among the many successful events the company has previously put on, GME was venturing into uncharted territory when the British indie four-piece rolled into town. “It was a completely different ballgame to comedy,” admitted GME Owner, Peter Green. “In terms of technical requirements, everything is raised up a few notches. The most specific request a stand-up would usually make might be a certain microphone, but with a band, there’s much more to think about.”

Be that as it may, when Green spotted a gap in the band’s schedule between a planned UK and European tour to celebrate the 15th anniversary of their debut album, Inside In/Inside Out, it was an opportunity that was simply too tempting to refuse. “Everything had to move

TECH PROFILE

extremely quickly,” he recalled. “We had just three-and-a-half weeks from announcement to show date.”

Production Manager, Miki Morana was once again brought in by GME to handle the technical side. “Miki has worked with us on all our arena shows so far,” Green stated.

Rahman added: “The fact that Miki and I share such a long history and know the way that each other works really helped the event run smoothly and helped bridge the gap between the client and supplier.”

While it was GME’s first venture into the music world, Green has relevant personal experience from his previous role at Done Events, working on the likes of RedFest DXB and Dubai Jazz Festival in years gone by, and for him, The Kooks show certainly hit all the right notes.

“There was a real buzz,” he smiled. “It was such a nice sight to see everyone in the audience singing along and enjoying themselves. It was our first show at Coca-Cola Arena and adds the music side to our portfolio. We had over 3,000 in attendance which, considering the show was

on a Sunday night, with extremely short notice and with a large show competing for a similar audience at Expo on the same night, we were very pleased with,” Green reported.

“It’s a good thing that Dubai and the UAE are busy again, with multiple options on the same night. It’s what we all have wanted to see for so long and now we’re getting it.”

‘AN OUTSTANDING COMEBACK SEASON’ The Tiësto show was produced by Dubai-based entertainment company, Full Circle. “We needed a capable team to help with technical production and make sure that the event went as expected, and Flair didn’t disappoint,” revealed Full Circle Managing Director, Shaz Hayat. “Their team has a good technical knowledge for small and large-scale events and their work ethic and professionalism are top notch.”

StageFX and LaserFX provided an extensive special effects and laser package for the Tiësto show. “When it comes to special effects and lasers, we always work hand-in-hand with them because of their broad infrastructure,

45

capacity and flawless health and safety record,” Rahman said of the company. “We are used to working with each other and we have a common shorthand, which is important for shows with a short lead time.”

Laser Technician, Olly Yates walked TPMEA through the SFX and Laser package in place for Tiësto, which comprised 21W and 30W RGB lasers, as well as Flamaniacs, PsyCO2 Jets and Stadium Shot Extremes. “We had lasers on the downstage edge and on the DJ booth, and all the other SFX equipment was on the downstage edge,” he described.

The main technical challenge came from the positioning of the Flamaniac units, with the StageFX team making some adjustments to the fixture to ensure that all the relevant safety distances were adhered to.

“We needed a safe distance not only between the flames and the audience, but also between the flames and the DJ,” Yates explained. “The Flamaniac fires out of five angles as standard. However, we blocked off the outer two angles to ensure that the flames didn’t

T H E S M A RT WAY T O C O N N E C T

ROBUST COMPREHENSIVE RELIABLE

CONNECTORS FOR LED PANELS REAN delivers a comprehensive range of connectors featuring ultra-robust, high-reliability designs that promise unrivalled cost-performance ratios.

www.rean-connectors.com ME

46

TECH PROFILE

“Coca-Cola Arena has been hugely successful in welcoming back live audiences. We’re excited for what’s in store for the rest of 2022 – with some of the best live events still to come.”

Mark Jan Kar, Coca-Cola Arena.

fire too wide and encroach on the required safety distance.” Yates noted the use of the DMX-controlled PsyCO2 Jets, which could be fired at angles to create different looks such as chevrons and crosses. “We also used confetti in the Stadium Shots instead of a confetti blower,” he added. “You can cover a larger area with a Stadium Shot than you can with a confetti blower, and we wanted that increased impact.”

The on-site team comprised Yates, alongside fellow Laser Technician, Valera Dmitriev, as well as SFX Technicians, Phillip Mathew, David Luzon, and Chris Tumarao. “Lasers always look great in the Coca-Cola Arena,” Yates concluded. “We know the venue well. Once you’ve done it once or twice, you understand what the procedures are, and it becomes automatic. The team is

ME

always a pleasure to work with and communicate well.” Reflecting on the entire run of shows, Flair’s Rahman described the project as “an outstanding comeback season”.

He added: “We are very grateful that we were given this opportunity to work on such an exciting project that showcases some of our creativity and our ability to execute a series of concerts with very short lead times.

“Everyone at the Coca-Cola Arena has been very supportive – especially Technical Director, Malcolm Giles, who is at the top of his game and always on the ball when it comes to running the technical production from the arena’s side.”

Coca-Cola Arena General Manager, Mark Jan Kar, had the final word: “The first three months of 2022 has seen some incredible highlights

for Coca-Cola Arena – from Tiësto to Maluma, Russell Peters, The Kooks and Ronan Keating, Coca-Cola Arena has witnessed a number of tremendous live shows across a range of genres,” he told TPMEA. “Thanks to the UAE’s phenomenal leadership through the pandemic as well as the buzz in the city as a result of Expo 2020, Coca-Cola Arena has been hugely successful in welcoming back live audiences. We’re excited for what’s in store for the rest of 2022 – with some of the best live events still to come.”

Photos: Ob Pankal, Flair Event Services, GME Events www.coca-cola-arena.com www.flair.ae www.thisisfullcircle.com www.gme-events.com www.stagefx.com

BOOK YOUR TICKETS NOW

WWW.TPMEAAWARDS.COM

THURSDAY 19 MAY HARD ROCK CAFE - FESTIVAL CITY

For Sponsorship and General Enquiries contact Fran f.begaj@mondiale.co.uk

SPONSORED BY

BAR SPONSOR

TICKETING PARTNER

SUPPORTED BY

48

INTERVIEW

INFINITE NIGHTS: COLDPLAY LIVE AT EXPO 2020 TOM BAIRSTOW OF CREATIVE PRODUCTION COLLECTIVE, NORTHHOUSE EXPLAINS HOW XR PUSHED THE BOUNDARIES OF PRODUCTION DURING COLDPLAY’S INNOVATIVE AL WASL PLAZA PERFORMANCE. The designers, directors, and visual artists at NorthHouse have collaborated with many incredible global names over the years, from Beyoncé to Bruno Mars, to Ferrari, BT, and even the Super Bowl. The collective are also longtime collaborators with Coldplay, first working with the band in 2015 for the A Head Full of Dreams Tour. “That campaign was an incredible experience and we have stayed in touch with the team ever since,” said NorthHouse’s Tom

ME

Bairstow, recalling the company’s history with the band and explaining how they came to work on Coldplay’s Expo 2020 performance.

“We were in contact with the Coldplay team during lockdown regarding the Music of the Spheres album. The Expo 2020 show was part of the band’s album promo shows, which NorthHouse has been a big part of, starting with a performance in the Roundhouse, London, in April 2021 and leading up to the Expo show.”

As well as creating content for the upcoming world tour, NorthHouse had a two-pronged remit for the Expo 2020 project, which comprised 360° immersive visuals to be projected all around the gigantic Al Wasl dome during the performance, as well as a mixed reality promotional trailer to be released before the show.

“We jumped into both projects simultaneously, starting around October 2021,” Bairstow revealed. “It was important for us to

INTERVIEW

ensure that both elements synchronised nicely from an art direction point of view.” The mixed reality video was filmed at ARRI’s XR studio in West London, which opened in summer last year. “The ARRI / Creative Technology guys were incredibly helpful throughout the whole process,” he reported. “We sent a large crew and filmed the whole thing in just a couple of hours with the band. We’re very proud of the final product.”

The brief for the film was to simulate Coldplay performing in Al Wasl Plaza, creating the venue and projection content in the mixed reality world. “Just like a traditional film, we storyboarded it to begin with and built the scene up in 3D to help us visualise camera shots and create animatics. However, in tandem to that, there was a lot of technical research and development going into essentially building the venue in Unreal Engine,” Bairstow explained.

“We were given the dome structure as a 3D object, which we built into Unreal and built a whole scene around that. Then, we virtually projection-mapped it into the dome, so it resembled the concept for the real-life

performance.” Of course, one of the benefits of mixed reality is that the creative is not constrained by the laws of physics present in the real world, so there was room for the imagination to run wild. “We pulled apart the video content into the three-dimensional space, which meant that rather than just projection mapping onto the dome, we stripped the assets and had all the content spread all over the area.”

The result was a Coldplay performance from a dreamy representation of Al Wasl Plaza, filled with rotating planets, swirling colours and surrounded by a glittering, starry night sky.

“It’s interesting when you dive into Unreal and move around the space in real time – it allows you to get a feel for the three-dimensional space,” added Bairstow. The performance area was also developed in virtual reality, which helped the NorthHouse team get a sense of what the real-world projection would look like before a site visit took place. “Being able to visualise the space in VR meant that we could see what we were creating and get a sense of scale, which is a difficult thing to do otherwise.”

49

‘CRAZY RESOLUTIONS’ While much of the art direction was already developed in preparation for Coldplay’s upcoming tour, everything had to be tailored and reformatted specifically to suit the unique architecture and massive scale of Al Wasl Plaza, with a projection area comprising some 80 million pixels in total, with 252 Christie D4K40 RGB laser DCI projectors and 16 disguise gx2 media servers all running in tandem. “This was the first time we had ever dealt with anything this size,” he admitted.

“Even though we had a bit of a head start on the art direction side of things, the fact that everything had to be created in such crazy resolutions meant it was a massive challenge. It was a colossal resolution to work with, and an incredible piece of architecture to design for.”

The NorthHouse team used a combination of Unreal Engine, Notch, Maxon Cinema 4D and Adobe After Effects. “We lent into Unreal and Notch a lot because they are real-time render engines and fast to work with,” Bairstow reported, adding that in the end, there’s no way of avoiding

ME

50

INTERVIEW

NorthHouse Founder and Creative Director, Tom Bairstow.

the traditional After Effects workflow, which requires a time-consuming rendering process after every change. “It was a heavy process, but we’ve got some powerful kit in the studio, and we optimised all the processors to get through it.”

Bairstow and the NorthHouse team worked with Coldplay’s creative team, including Phil Harvey and Misty Buckley, Coldplay’s CoDirectors, before the visuals were ready to be brought to Dubai and tested in the real world.

“Phil, Misty and the rest of the team are really great to work with and through many years of collaboration, we’ve built up a fantastic working relationship,” he said. “There’s always a lot of big ideas and many hours of work, but it’s a great process together and at the end, we get to create these incredible experiences all over the world.”

Bairstow was due to travel to Dubai, only to suffer a nasty mountain biking accident, dislocating his shoulder, and breaking four ribs.

ME

“I was in hospital for 10 days. It happened to coincide with the build-up to the XR shoot, so I had to do a lot of pre-production and direction from my hospital bed, which was interesting to say the least,” he recounted, recalling the numerous Zoom calls from his hospital bed to plan the shoot, before directing it while still in a sling and on slow-release morphine.

“We were trying to achieve something very technically complex, and my head was quite a mush due to the copious amounts of painkillers.

It was quite an ordeal, but thankfully I had a brilliant XR team including Alice Ryland (Producer, NorthHouse), Emile Freeman (XR Co-Director, NorthHouse), Florian Lecoq (Lead Technical Artist, NorthHouse), Lydia Caplan (XR Lead Designer, NorthHouse), James Medcraft (DoP), Helen Dulay (Producer), Sam Seager (Warner / Coldplay), the brilliant ARRI team, the fantastic Warner Production team, lots of help from Coldplay’s

Creative and Production teams, and many, many others,” he added. “The shoot couldn’t have gone any smoother in the end. We had such a small window of time with the band but nailed every shot and so much is down to such an incredible team effort under the circumstances.”

Thankfully, Bairstow made a speedy recovery, and he was eventually able to head to Dubai for more testing and rehearsals in January. “The rehearsals took place between four and six in the morning, which was the only time we could get in and ensure that nobody would be around,” he revealed. “It was so important that we made the best use of the architecture.

Creative Technology did an amazing job of creating pixel maps of the dome, which were extremely accurate, allowing us to essentially break down the colossal structure into individual windows and pick out different segments, instead of having it as one huge projection canvas. The

52

INTERVIEW

“Our team is certainly growing at the moment and we’re always interested to explore other areas of the world for great projects. Dubai and the Middle East in general have so much going on with new tech and experiences and we’d love to do a lot more out there.”

Tom Bairstow, NorthHouse.

Expo team – especially Karl Knight, Kate Tooby and Lubna Haroun – were also phenomenal in helping us make sure we got the best out of the dome, creatively and technically.

“I’m so proud of what the NorthHouse team achieved with the live show and projection visuals,” he added. “Sean Bone (Projection Visuals Lead Artist), Alice Ryland (Producer) and then many artists pushed the boundaries of the architecture – Dan Richards, Florian Lecoq, Lydia Caplan, Emile Freeman, Dana Couling, Victor Scorrano, Luca Brenna, and Hasan Nasir.”

Reflecting on the project, Bairstow was pleased with the effects achieved using mixed reality. “It’s mind-blowing how you can create complex environments from scratch in such a short period of time,” he pondered. “It was

ME

interesting to work in two different worlds at the same time. Navigating between the real world and the extended reality world was a challenge, but one fed into the other and we borrowed a lot of techniques and design assets from both sides.

Both disciplines helped each other.”

However, for him, nothing could beat the buzz of show night. “The film of the show – which was put together by Paul Dugdale and Simon Fisher – was fantastic, but nothing can compare to the energy inside the dome when Coldplay were performing live. It was amazing,” he said.

“It was a fully immersive show that combined elements of an Olympic-scale ceremony with the feeling that you were fully consumed by 360° visuals. It was an incredible experience to feel the energy within the dome that night – something

I’ll never forget.” The project represented a first taste of working in the region for NorthHouse and, according to Bairstow, it has certainly whetted the appetite. “Our team is certainly growing at the moment and we’re always interested in exploring other areas of the world for great projects. Dubai and the Middle East in general have so much going on with new tech and experiences and we’d love to do a lot more out there,” he concluded.

“For now, though, we’ve got the Coldplay World Tour to finalise and a very British celebration of the Queen, where we’re designing a very special show at Buckingham Palace to celebrate the Queen’s Platinum Jubilee.”

Photos: Expo 2020 www.coldplay.com www.northhousecreative.com

COMPANY PROFILE

53

Eithad Arena General Manager, Brint Jackson; Comedian, Michael McIntyre; GME Events Founder, Peter Green.

GME EVENTS: A YEAR ON WITH OVER 15,000 TICKETS SOLD AND SUCCESSFUL EVENTS IN SOME OF THE UAE’S TOP VENUES, GME EVENTS HAS HAD A STRONG DEBUT YEAR. NOW, AS FOUNDER, PETER GREEN EXPLAINS, THE COMPANY IS AIMING TO BUILD ON ITS INITIAL SUCCESS. After launching last year in the midst of the global pandemic, GME Events has quickly gained a reputation for attracting some of the biggest names in comedy to perform in the UAE. From the company’s debut show – Jack Whitehall at the Dubai World Trade Centre – to performances from the likes of Jack Dee, Michael McIntyre, Rob Beckett, Russell Kane, and Russell Peters, GME Events has had an opening year to remember.

“The original aim of GME Events was to focus on our strengths, which is putting on comedy shows, utilising the network that I have with UK comedians and their representatives,” commented GME Events Founder, Peter Green,

looking back on his first year. “I was looking to see if those strengths and that access could lead into something, and thankfully, so far it has worked well.”

After spending eight years at Done Events, working on shows such as the Dubai Jazz Festival, RedFestDXB and the DXBLaughs series of comedy events, Green recalled how the move to set out on his own happened very quickly.

“It was only a matter of weeks from my last day at Done Events to finalising an agreement with Dubai World Trade Centre and Dubai Shopping Festival to host the Jack Whitehall show,” he reminisced. “That first show was a big highlight for me. To see the screens at DWTC with

the GME logo was the moment it really dawned on me that this was real, it was happening and there was no turning back.”

Now, a year on and with over 15,000 tickets sold for shows at venues including Dubai Opera, Coca-Cola Arena, and Etihad Arena, Green is proud of the achievement so far, yet still hungry for more.

“What we must remember is that we’ve only been in business for a very short period of time compared to a lot of the more established companies out there, so we’re still very much in our infancy,” he highlighted. “Our only aims are to sustain the success we’ve had so far, build on it and see where we end up. It’s an ongoing goal

ME

54

COMPANY PROFILE

“We’ve seen packed calendars at both the Etihad and Coca-Cola Arenas and the return of huge global events such as the Formula One Abu Dhabi and Dubai World Cup, as well as Expo 2020. It all bodes well. We’re getting back to where we should be.”

Peter Green, GME Events.

with no specific time limit.” Another highlight for the company came last month, when GME Events put on its first music show – The Kooks at CocaCola Arena.

“Being able to bring The Kooks to Dubai to perform at the city’s biggest indoor arena was a huge step forward and means that we can now add that string of music shows to our bow,” Green commented. “It means that we’ve now organised arena-level shows in both Dubai and Abu Dhabi, which I’m extremely proud of.”

Of course, it hasn’t all been plane sailing, with the constant threat of ever-changing COVID-19 restrictions presenting a huge logistical

ME

challenge throughout the company’s short life so far. “The main challenge we’ve faced has been the ever-shifting landscape regarding COVID-19.

The rules and regulations were and continue to be very important to get the UAE back to where it should be. However, for those working in this industry they have presented a massive logistical challenge in terms of organising events,” he reflected. “Quite often, the rules would change from the time that we announced and put tickets on sale for a show, to the date of the performance, so we’d suddenly have to change our approach at the last minute. It’s something that everyone had to deal with and we all did the

best we could under the circumstances.”

Thankfully, the events industry seems to have turned a corner since COVID-19 and things are now heading in the right direction.

“If you look at the past six months, the country has shown it is united in terms of the events industry and the importance of having a thriving community,” Green stated. “We’ve seen packed calendars at both the Etihad and CocaCola Arenas and the return of huge global events such as the Formula One Abu Dhabi and Dubai World Cup, as well as Expo 2020. It all bodes well. We’re getting back to where we should be.”

For Green and GME, the focus remains on doing

COMPANY PROFILE

what they do best. “We proved with The Kooks that we’re capable of doing other things and there’s no reason why we wouldn’t explore other prospects like that if the conditions are right and the opportunity is there. However, comedy is our bread and butter, and it will remain so for the foreseeable future,” he shared. “Our first year set

a high bar and it’s up to us to keep that going now. I anticipate a lot more competition this year, with big-name promoters activating more in the UAE, so it will be interesting to see how it plays out,” Green concluded.

“In the long term, we’d like to expand the company, looking at opening different divisions

55

servicing different areas of the industry and territories. We’ve already had a few enquiries from outside the UAE and it’s something we’ve got an eye on to see how we can collaborate with other people and companies to expand.”

Photos: GME Events www.gme-events.com

ME

56

INTERVIEW

BYRNE EQUIPMENT RENTAL EMILY STRACEY OF BYRNE EQUIPMENT RENTAL UAE, AND PRAVEEN KUMAR OF BYRNE EQUIPMENT RENTAL KSA, DISCUSS THEIR RESPECTIVE ROLES AT THIS MAINSTAY OF THE REGION’S EVENTS INDUSTRY. Founded in the UAE in the early 1990s, Byrne Equipment Rental has since grown to become one of the largest plant and equipment rental companies in the Middle East, with 20 operational bases, covering the UAE, Saudi Arabia, Kuwait, Oman and Bahrain, as well as a fleet of over 14,000 items and a dedicated team of over 1,500 people.

Here, TPMEA catches up with Emily Stracey of Byrne’s UAE branch, as well as Praveen Kumar of the company’s Saudi Arabia operation, who share some insights from their respective divisions.

Tell us about your role at Byrne…

Emily Stracey: I’ve been with Byrne for over

ME

five years now. I joined the company as a Sales Executive in 2017 and, after two years in the role, I was promoted. I now oversee the Events division for the UAE, where I plan and manage the forecast for the year ahead while supporting operations. I’ve worked on some of the biggest events in the UAE including Dubai Rugby Sevens, Papal visit, Special Olympics, Dubai Air Show, and UFC, not to mention hundreds of concerts over the years.

I’ve built some great relationships during my time here, on behalf of Byrne but also where clients have become my friends, and this has been an invaluable benefit of the job and my role in this region.

Praveen Kumar: I have been part of the Byrne family for over 12 years. I joined as Branch Manager of the Riyadh operation and have since worked my way up to be the Assistant General Manager for the Events division in KSA. I develop, manage, and execute the operations, with an excellent experienced team here in the Kingdom.

How were you affected by COVID-19?

ES: We were fortunate during the pandemic as Byrne services other industries such as Construction and Oil and Gas, which enabled us to restructure and adapt to the climate around us. As a result, no redundancies were made and, pre-2021 season, we restructured back to meet

INTERVIEW

57

Byrne Equipment Rental’s Praveen Kumar and Emily Stracey.

“While the UAE was already on the map as a top event destination, there is no doubt Expo 2020 has firmly positioned it as a top event destination on a global scale.”

Emily Stracey, Byrne Equipment Rental.

the upcoming demands. During the pandemic, we were heavily involved in the COVID-19 relief efforts and supported the construction of field hospitals in Dubai and Abu Dhabi, which was extremely rewarding for all of us involved. We also deployed equipment and manpower to Africa to install hospitals.

The events sector in the UAE has adapted to the challenges posed by COVID-19 and is steadily moving towards recovery while keeping the latest safety regulations at the heart of all planned future events, and we are no different. Q4 of 2021 was a fantastic period for us, which led us to expand the events team, our fleet and our singlesource solution offering, and we are now ready for an even bigger 2022.

PK: The events division in KSA was hit hard by the pandemic due to the industry coming to a complete standstill. However, to weather the storm, we pivoted our skills and capabilities to provide temporary hospitals, camps to maintain

social distancing norms and COVID-19 testing centres. Our operational teams worked tirelessly through the challenges it was presented with and we have come out stronger, ready for the year ahead and beyond.

What are the main challenges you face?

ES: The events industry is full of its own unique challenges. At Byrne, we always strive to deliver to the highest standards, and this can be challenging when late sign offs and last-minute changes present themselves. However, luckily we are accustomed to this after 30 years in the industry in the UAE and we always rise to the challenge; delivering and installing a full turnkey site setup with cabins, toilets, and power with one day’s notice has become second nature!

The pandemic has also presented some ongoing challenges in the industry; changing restrictions and the uncertainty or threat of another similar situation is at the back of people’s

minds – we saw first-hand how it almost wiped out an entire industry. However, we proved in that situation that we can adapt, and I believe we have come out stronger than ever.

PK: The events industry in KSA is in its nascent stage, so we have developed a strategy that involves placing multiple alternate solutions at both sides of the spectrum to combat any challenges. We have an experienced team in place who are heavily involved with both the event organisers and suppliers, from the planning stage right through the entire operations cycle, and this level of detailed involvement helps us to avoid or resolve issues more quickly.

What have you got planned for the year ahead?

ES: We have had a great start to the year and as we come to the end of the current events season and move into summer, we remain hopeful that the COVID-19 restrictions ease even further and we come back in the new season with a bang.

ME

58

INTERVIEW

This year looks likely to be bigger than ever.

PK: The events industry in Saudi Arabia is still evolving and is poised for significant growth since the adoption of Vision 2030. Entertainment venues increased from 154 in 2017 to 277 in 2020, which is a remarkable increase and provides huge opportunities for hosting future events. We have had a strong start to 2022, where we were involved in the Dakar Rally, Formula E, Formula One and Winter Wonder Land. Looking forward, we hope to be part of all major events across KSA this year, with our single-source solution offering. There are a lot of projects in the pipeline, and we are very excited for the year ahead.

What trends are shaping the industry in both the UAE and KSA? ES: While the UAE was already on the map as a

ME

top event destination, there is no doubt Expo 2020 has firmly positioned it as a top event destination on a global scale. The eyes of the world have been on the UAE, and we have proved we have the infrastructure, manpower and capability to do anything that is thrown at us. I’m excited to see how we capitalise on the opportunities that come from the success of Expo 2020 now its doors have closed.

PK: The events industry in KSA is demonstrably on the rise and is shaping up to be an important part of the national transformation plan in the Kingdom; the country is dedicated to making available as many resources as necessary to achieve this. There is huge potential, and the changing social climate makes it easier to achieve these goals and attract more international visitors. On the infrastructure side, since most events are held in and around

hotels, hotel chains have been expanding rapidly, and we can see further developments and plans to create tourist-friendly zones or districts. In the next couple of years, events will continue to flourish and will contribute significantly to the growth ambitions of KSA, not just economically but also socially, with a strong focus on protecting its rich culture, showcasing the beauty of its geography, and attracting world-class events. The current trends of seasons across various regions in different periods of the year uniquely positions Saudi Arabia to be active all through the year and this bodes well for us as the only events rental specialists with a multidepot presence in the Kingdom and over 30 years’ experience servicing the events industry in the wider GCC region.

Photos: Byrne Equipment Rental www.byrnerental.com

byrnerental.com

SCAN TO CHAT

We are the equipment rental needs.

Events

for all your event

Temporary

equipment rental

and more, and provide 24/7 on-site support with our experienced team of experts on hand every step of the way.

solutions UAE

KSA

Kuwait

Oman

Bahrain

60

REGIONAL ROUND-UP

The DWR team; Motlotlo ‘Mac’ Makhobotloane. Facing page: Roelof and Jurie Kruger, DWR’s Jaco Beukes.

DWR PRESENTS AV SOLUTIONS AT OPEN DAY THE COMPANY ALSO WELCOMES A NEW MEMBER TO ITS SALES TEAM, WITH THE APPOINTMENT OF MOTLOTLO ‘MAC’ MAKHOBOTLOANE. DWR Distribution hosted an AV Open Day on 23 March, held at the company’s offices in Johannesburg, where visitors experienced technical solutions for the AV and corporate markets from brands including tvONE, Magenta, Green Hippo, Visual Productions, Sharp/NEC, Absen, Audix, Magnimage and Quest.

“The purpose of the AV Open Day was to raise awareness regarding DWR Distribution’s offerings when it comes to AV,” said Dylan Jones of DWR, who orchestrated the event. “We wanted to attract new and current clients to come to our offices and catch up, while also showing them our products in action across the board, from events to boardroom solutions and training facilities.”

Guests were welcomed to the demo room where they could see, touch, and hear a range of equipment on display. People were also given a tour of DWR’s in-house training room and boardroom – both venues equipped with userfriendly products, from wall touch switches to speakers, LED screens and systems that create

Af

a polished solution when hosting meetings or corporate events.

While DWR has hosted numerous training days over the past two years during the pandemic, an open day fueled the team who were ready to put in every effort to make the day a success. “My highlight was during the buildup, working with my colleagues again, a deadline pending, and making sure the venue was ready for show day,” Jones said. “I was really excited about the upgrades our training room received in terms of the Quest ceiling speakers, tvONE HDMI Matrix Switcher and the NEC Display.”

The company also recently welcomed a new member to its sales team – sound, lighting and product specialist, Motlotlo ‘Mac’ Makhobotloane.

“No sooner had Mac arrived, we threw him into the deep end at our AV Open day – and he hasn’t stopped since,” smiled Robert Izzett, Head of Sales at DWR. “With a wealth of knowledge and experience, his primary role will be internal sales, and thereafter, he will assist with customer

support, demonstrations and training as and when needed.”

Mac brings a wealth of industry experience, including a stint at MGG, where he gained practical insight to technical, rigging and setting up productions, as well as Lighting Technical support at Prosound and Technical Sales Administrator at Electrosonic SA. “It’s a new chapter and what excites me is getting to know everyone at DWR on a personal level,” Mac said. “I get my gratitude by providing people with applicable solutions and being able to empower and educate others, be it through a sale, the commissioning and handing over of a system, or assisting with training.”

Duncan Riley of DWR concurred. “I’m very happy to have Mac onboard and look forward to a great future together,” he concluded. “I know he will complement the team with his passion for people and a great love for the industry.”

Photos: DWR Distribution www.dwrdistribution.co.za

REGIONAL ROUND-UP

61

COOL MUSIC PRODUCTIONS INVESTS IN FENIX HERCULES 8 LIFTING TOWERS ADD VERSATILITY TO THE PRODUCTION COMPANY’S STAGE OFFERING. With the entertainment industry finally picking up pace after the pandemic, Cool Music Productions (CMP) has invested in two FENIX Hercules 8 front-loading lifting towers, used for lifting line array systems, trussing and LED. A family-run business founded by Jurie Kruger in 1997, CMP places an emphasis on personal service to its longstanding clients, with its tight-knit crew headed by Kruger’s son, Roelof, who is also the company’s Technical Director.

CMP supplies gear that includes two stage roof structures, indoor and outdoor PA, lighting, AV, laser projectors, cameras, JIB, Steady Cam, and NewTek TriCaster.

“We had a need to fly our PA higher, particularly for our small 6m by 4m outdoor stage,” said Jurie Kruger. “After a lot of research, we realised that the FENIX tower would cater for all our needs, and with the correct technical advice from Jaco Beukes at DWR, were able to put the units to the test at a recent music show hosted at a school in Balfour. The towers seriously drew attention! They look amazing, are really easy to use and added the touch we needed for our stage. An added benefit is that we can drop the height within minutes and we are glad we made the decision to buy the Fenix Hercules 8 towers.”

DWR became an official FENIX agent in May 2019, and less than a year later, saw the industry take a severe knock during the COVID-19 pandemic. “Thank you very much to Cool Music

Productions, who are the first in South Africa to purchase the Hercules 8, the largest lifting tower in the FENIX range,” said Beukes of DWR. “In an industry where budgets are restricted and set up time is usually governed by budget, FENIX

raises the bar effortlessly and quickly to the right position, saving time and minimising the cost required for additional crew.”

Photo: DWR Distribution www.coolmusic.co.za

Af

62

REGIONAL ROUND-UP

CHOOSE LIFE CHURCH PICKS SAW PIXEL PLUS SOLUTION THE INTEGRATOR RETURNS TO THE CHURCH A DECADE AFTER INSTALLING A D&B AUDIOTECHNIK SYSTEM. CHOOSE LIFE Church tasked Stage Audio Works (SAW) with implementing a large Pixel Plus LED wall to act as the backdrop for its stage, as well as upgrade the church’s hardware and streaming infrastructure.

CHOOSE LIFE Church tasked Stage Audio Works (SAW) with implementing a large Pixel Plus LED wall to act as the backdrop for its stage, as well as upgrade the church’s hardware and streaming infrastructure.

The relationship dates back to 2011 when the church called upon SAW to supply and integrate a d&b audiotechnik T-Series system in its main auditorium, constructed around three core line arrays, each consisting of a seven stack of d&b Ti10Ls. These are supported by four Qi Subwoofers, recessed into the front of the stage.

Grant Boswell, Technical Support Officer at CHOOSE LIFE Church, explained how the system has stood the test of time: “Recently, we had Nathan from SAW visit and listen to the system. He said that it still sounds as good as it did when it was originally installed 12 years ago, if not better thanks to acoustic treatment that has been carried out since. He also said that they wouldn’t easily be able to replace it with a comparable system today that would make

Af

a noticeable difference without spending a lot more money – a true sign of quality engineering.”

Having previously delivered such a durable system, CHOOSE LIFE Church returned to SAW when it was next in need. Due to its significant focus on streaming, the church had an interest in improving the visual experience: “Our old stage backdrop was rather boring and dark, so we wanted to brighten and liven it up to make our auditorium look more contemporary and create an exciting stage feature. A couple of years ago, we hired a screen and fell in love with it, so we decided it was time for a permanent upgrade,” declared Boswell. “We did some research and received several quotes, but ultimately decided to go with SAW’s Pixel Plus solution. They were always the favourite, as we have an excellent relationship with them and felt assured that they would deliver a premium quality product.”

For the primary solution, SAW implemented a 108-panel Xcell-i LED wall from its Pixel Plus range. “This visual element will greatly improve the quality of our livestreams, especially with the additional upgrade to our video framework throughout our facilities,” said Boswell.

SAW upgraded to HD-SDI cabling for all projectors and equipment in the auditorium,

additional rooms, and foyer. Likewise, the team upgraded their original streaming PCs to a more sophisticated network of custom-built Dream Machine Light PCs. On a software level, the integrator galvanised the adoption of ProPresenter 7 and supported the transition towards the Resi streaming platform, affording the church increased flexibility and scalability.

“We are loving the new look,” affirmed Boswell. “The colour and movement in the background makes our stage look even bigger and more impressive and eliminates the dark spots we previously noticed in our playbacks.

“The experience has only served to strengthen what was already a strong relationship with SAW, that predates even the 10 years that I’ve been working at CHOOSE LIFE Church,” he continued.

“They have proved time and again their ability to provide industry-leading solutions. This, combined with their willingness to help, provides exceptional peace of mind. We are extremely comfortable with SAW and appreciative of their support, their professionalism and expert advice.”

Photos: Stage Audio Works www.stageaudioworks.com

GULF CREWING COMPANY The Middle East’s premier local crew supplier

Established in 2008 and based in the UAE, GCC Events LLC exists to provide a comprehensive, high quality, English-speaking crew service to the live event and exhibition industries of the U.A.E. and Gulf region.

www.gulfcrewing.com

GCC Events LLC Office 1103 Mezz Floor Al Habtoor Building Al Quoz 1 Sheikh Zayed Road P.O. Box 27349 Dubai UAE Telephone: +971 4 339 5009 Email: office@gulfcrewing.com

GCC Events LLC - Branch of Abu Dhabi Office # 220 Second Floor Global Heritage Property Business Centre Omeir Bin Youssef & Sons Building Hamdan Street (Old UAE Exchange Building) P.O. Box 36198 Abu Dhabi, UAE Telephone: +971 4 339 5009 Email: office@gulfcrewing.com

GCC Middle East LLC Room 111 Ground Floor Um Al Umam Commercial Centre 8714 Salah Ad Din Alayyubi Road Ad Dubbat 12623-4399 Riyadh Kingdom of Saudi Arabia Telephone: +966 11 291 0891 Email: office@gulfcrewing.com

Evolution Wireless Digital

Evolving With You. Evolution Wireless Digital raises the bar by providing the highest dynamic range of any wireless system currently on the market, utilizing advanced features that simplify your setup and guarantee the most reliable connection.

Maximize efficiency by taking full control with the Sennheiser Smart Assist app and automatically coordinate frequencies with ease. Increased bandwidth and the lowest latency make it the most powerful tool for those who put quality and performance above all else. www.sennheiser.com/EW-D

Scan the QR code to get in touch with us.