MONDO | STADIA - Issue 29 - April | May

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

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

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

CHRIS FRAZER

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

FLETCHER MACHINE

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29

WELCOME

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

We’ve also interviewed Chris Frazer, who discussed his long career at Chelsea FC, his exciting new chapter with the team at Bendac - who he recently joined as AV Integration Specialist - and his view on the future of AV technology in sporting venues. Elsewhere, we’ve covered a number of venues, including Quince Imaging’s spectacular projection mapping project at Citizens Bank Park, the home of the Philadelphia Phillies, for Independence Day Weekend. Definitely one to check out!

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

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

I hope you enjoy the latest issue!

Sam Hughes Editorial Director

Experience Matters

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

Dave

Editorial Director

Sam Hughes s.hughes@mondiale.co.uk

Commercial Director

Jamie Dixon j.dixon@mondiale.co.uk

Design & Production

Dan Seaton d.seaton@mondiale.co.uk

Dave Bell d.bell@mondiale.co.uk

Finance Director

Amanda Giles a.giles@mondiale.co.uk

Credit Control ar@mondiale.co.uk

Group Chairman

Damian Walsh MONDO

TEAM TALK 006 Adamson Systems Engineering

LIGHTING

062 Six Day Race Berlin | Berlin, Germany

EPOS & HOSPITALITY 066 Motorpoint Arena | Nottingham, England

BROADCAST 070 2023 Rugby Europe Championship | Europe

RIGGING & STRUCTURES 072 Dubai World Cup | Dubai, UAE

EXTRA TIME 076 InCrowd | Cast 078 Meyer Sound | Panther

080 ADI | Venue Tech Roadshow

Cover Image:

Shopland / Shutterstock

Powered Speakers are the Future and Rack Amplifiers are Here to Stay

Images: Adamson Systems Engineering

The appealing and value-add art of designing sound systems for large venues involves finding the right combinations of loudspeakers and mounting them in the right locations to deliver the best possible audio to an audience. Those speakers need amplifiers. Therefore, a time-consuming and less glamourous aspect of system design is defining where to house the racks of equipment needed to deliver the air-pushing power to each cabinet, and the complexity of wiring those systems.

Since Class-D amplification technology made amplifiers lighter, smaller, safer and more reliable than the previous generation technology, the idea of mounting amplifiers on or in speaker cabinets became more and more feasible. Now many major performance

PA companies like Adamson offer onboardpowered products.

“We had our eye on powered speakers long before the technology was viable for medium and large format venues. It’s not about squishing a two-channel rack mount amp into a speaker. It’s the combination of networking protocols, signal processing, and modular design techniques that make powered loudspeakers deliver quality and efficiency you can’t get with rack-mount setups,” said Adamson Project Manager, Marketing & Applications, Dwayne Slack.

The future of powered loudspeakers brings advantages that won’t be practical with separate rack-mount solutions. When amplification is designed specifically for, and in the closest possible proximity to the speaker,

variables like cable length, crossovers, and redundancy are reduced or eliminated. The most substantial opportunities however, come from the ease of implementing higher amplifier channel counts to address an increasing number of purpose-built drivers per cabinet. “Although it’s admirable to create rack mount amplifiers with 8 or more channels to address a single cabinet, it’s not something you can scale. As improved loudspeaker performance and instant reconfigurability become common requirements, it’s powered boxes that are going to deliver the goods,” added Brock Adamson, CEO.

Those increasing requirements will not remove the practical use of rack-mount amplifiers anytime soon.

“Everything from refurbishing previous

installations that have the rack-mount space and conduit for separate components, to applications where simple two-way speakers are an affordable choice will keep rack amplifiers in the installation audio world,” said Slack.

For some system designers, powered speakers raise concerns driven by early, yet legitimate negative experiences.

“Some of the first mass produce powered speakers were portable PA speakers that made their way into installations mainly due to their low price. However, many of these products

were not based on reliable class-D amplifier designs and didn’t offer any meaningful audio benefit,” continued Slack.

“From the perspective of designing modern high-performance loudspeakers, those early experiences are irrelevant. The technology and how we test our powered product is in a completely different universe.”

Christopher Weatherford spends hundreds of days a year on the road helping designers and integrators specify and implement large venue sounds system. As Head of Applications AMER for Adamson he sees the benefits that

are driving line arrays and other loudspeaker applications to onboard power.

“Powered speakers bring cool benefits. With CS Series we share the same power cables and data connections with the video and lighting departments using Neutrik powerCON® TRUE1 and etherCON,” said Weatherford.

“With a tour, it’s less space in the truck for heavy amplifier racks. In an installation, it’s just the placement of a powered speaker that takes up space, nothing more.”

29 INTERVIEW

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

Chris Frazer AV Integration Specialist Bendac

CHRIS FRAZER, AV INTEGRATION SPECIALIST, BENDAC

Can you tell us about your career – how did you find yourself in the sporting venue industry?

I used to work in corporate AV as a Presentations Manager, which involved working on presentations, exhibitions, and other events across the world. However, with a growing family, I decided to look for something more local - and that’s how I ended up at Chelsea Football Club. In those early days, there were only 30 games a year, and no other major hospitality events, which made it a great move for me at the time.

You spent a number of years at Chelsea. What was your role there?

My role was the AV Technical Manager across the whole organisation, so that included Stamford Bridge, of course, along with the training ground – first at Harlington, then Cobham Training centre once that was opened – and then Kingsmeadow stadium when that was added for the women’s and youth sides. Essentially, if it came under vision, sound or lighting, it was my responsibility.

Being at Chelsea for over 25 years, you must have overseen some dramatic changes in terms of technology in the stadium and training grounds?

Absolutely. When I first started, the scoreboard consisted of static graphics on a printed board. Over time, we transitioned to more advanced technologies, with LED displays eventually coming in and evolving into fully automated systems. Initially, TV screens were only available in certain hospitality areas like executive boxes, but there are now over 1,000 screens throughout the stadium, including at the training ground and Kingsmeadow. To reduce costs, we implemented a one-head-end solution that could feed

content to all the screens in each location.

When we first installed big screens in the stadium, which were among the first of their kind in the country, it allowed the club to display in-game advertising and generate revenue. At the time, the screens weren’t used very much, but as the sponsorship and marketing departments grew, the technology began to be utilised more effectively.

During my time at the club, we continued to innovate and evolve the use of screens – it was a dramatic change in terms of stadiums really.

Before I left Chelsea, we were working hard to make it the most accessible stadium in the country. In fact, we had implemented several initiatives to include all members of society, such as: screens in wheelchair bays for replays; audio systems for commentary for blind supporters; on-screen sign language interpreter for deaf and hearing impaired people; and we were working with a company called Give Vision to pipe the live feed into a headset - much like a VR headset - to allow partially sighted supporters to watch the game in real time from any seat in the house. Technology allows these advancements and helps every fan in the stadium feel part of the action.

You recently made the move to Bendac – can you give us some insight into your new role?

My role is as an AV Integration Specialist, which involves working with large-format screens for a range of applications, from giant stadium screens down to kiosks and wayfinding displays. My job is to help the owners of these screens integrate their AV into their system to get the best possible results. This involves understanding the needs of the club, as well as the technical requirements for displaying content on the screens. Our team of engineers handle the technical aspects, ensuring that everything runs smoothly, while

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

With your vast experience and Bendac’s ambitious growth, it seems like a perfect combination. What was it, specifically, that convinced you to make the move?

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

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

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

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

Chris Frazer

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

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

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

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

I believe what sets us apart here is our attention to detail. Having previously worked at Chelsea and witnessed the implementation of numerous screens, I can confidently say that the team at Bendac strives for nothing but the best possible solution for our clients. We take pride in ensuring that the venue takes full ownership of the asset, and we encourage them to keep the benefits of that asset, too. While some may see outsourcing as the way forward, we have demonstrated that there is a better way. By showing our clients how to keep their revenue and maintain their technology, we help them make the most out of what they have purchased. The team is committed to delivering the best

250+ SPEAKERS ACROSS 6 THEATRES

Michelle Munson CEO & founder Eluvio

Asa Bailey Director, virtual production director, founder OnSet Facilities

Charlotte Layton Founder & CCO Racoon

Ian Wagdin Senior transfer manager BBC R&D

Roy Heath-Callow Head of technology Lifted Entertainment

possible setup for any given situation, and I appreciate that. Personally, I have a strong desire to do things properly and to lead in a way that inspires others to do the same. So, this work environment suits me perfectly.

With your experience at Chelsea, can you tell us how much of an impact Bendac’s complete LED Perimeter Advertising System and BOCC Studio could have for clubs / venues?

It’s a one-stop shop approach – and it’s the convenience of that idea that makes it so valuable to clubs and their venues. Having worked at Chelsea for so long, I’ve experienced how advertising comes from different sources. Some is made in-house, while others come from agencies, and it can be frustrating when they are late or need to be changed just before a game. With the team at Bendac, we can provide that creative, which cuts out the middleman and streamlines the process. LED screens are now moving towards a virtualised system, allowing clubs to accommodate different territories and their advertising needs. The screens within the stadium can showcase more localised content, such as calls to action and in-house advertising, without affecting the overall global advertising strategy.

The BOCC Studio team is fantastic - their work is second to none. Being able to provide both the screen and the content provides a complete solution that clubs can rely on.

Do you have any exciting stadium projects coming up soon?

We certainly do, but I can’t talk about them just yet! We’re working with clubs from the Premier League, Championship and lower leagues, so it’s a really exciting time for Bendac –and I’m glad to be a part of it.

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

How much time do you have? I could talk about this all day! I’m very excited about the future of fan experience and immersive technology. Nowadays, everyone has a phone in their hand, and it’s common to see people, especially youngsters, walking around with their heads down, staring at their devices. In the stadium, we can deliver stats straight to their devices and provide replays of critical events, although there are rules and restrictions to follow. One of the exciting things we do at Bendac is LED Virtual Production (VP). We experimented with VP at Stamford Bridge and found numerous ways to use it, such as letting fans buy their shirts and have them presented by the manager. We’ve also created 3D virtual trophies and props, so fans can experience the celebrations as if they were on the field with the team. The cost of LED VP is relatively high right now, but as the price comes down, more clubs will be willing to invest in this technology. We can also use interactive virtual elements on concourses and outside the stadium to create an immersive experience for fans as they approach the venue. Virtual studios (VS) and Augmented Reality (AR), two types of Virtual Production, are the way forward, and I do believe they will revolutionise the fan experience.

Where football is concerned, for example, it’s about finding the balance between the traditional ways and the new technologies. But, I believe that once fans see the benefits and the exciting possibilities of immersive technology, they will embrace it. As technology advances and becomes more accessible and affordable, clubs will be able to incorporate it into their fan experience offerings in a cost-effective way. Over in the USA, it’s probably easier due to the length of games in the NFL or baseball, meaning fans are in the stadium for a full day almost. So, perhaps cricket could be the catalyst for the UK. It’s exciting, and I think we’ll see more and more clubs and venues adopting it in the coming years.

Football & Rugby

THURS

THURS 27TH APRIL

THURS

SUPER BOWL LVII @ STATE FARM STADIUM

Arizona, USA

Images: Dave Shopland, Johnny Keirle, Jon SooHoo, UPI, Shutterstock, SIPA, David J. Phillip, Kirby Lee, Daktronics, PRG, PixMob, Harlequin, K-ARRAY

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

On Sunday, February 12th, nine-time Grammy Awardwinner Rihanna took centerstage during halftime at Super Bowl LVII, which pitted the Kansas City Chiefs against the Philadelphia Eagles. Or, more precisely, she took off, riding a gravity-defying platform flown from the rigging of Glendale, Arizona’s State Farm Stadium, in a production that was as stunning as her eye-popping red outfit. It was a performance that rivaled the game itself: 13 minutes featuring the best of her big hits, including “Umbrella,” “Work,” “Diamonds,” and “Run This Town,” and a cast of an estimated 100 dancers, many of whom were also suspended in the air. It was a show that demanded the absolute best sound possible, which it had, thanks to an L-Acoustics K2 system deployed by ATK Audiotek, a Clair Global brand.

The deployment of the halftime sound system was very different this year. In the past, the temporary music system was loaded on wheeled carts that could be quickly moved into position as part of the overall halftime production staging, which takes place in a matter of minutes with scores of local

volunteers pushing all of the staging elements together just after the referee’s halftime whistle sounds. However, the location of this year’s Super Bowl at State Farm Stadium meant it would be played on the venue’s unique but carefully groomed retractable grass field.

“The NFL mandated that nothing be on the field this year, so that meant no carts,” says Powell. Instead, the entire temporary sound system was flown. That, he adds, turned out to be a positive one. “Going in the air gave us more room, which meant more boxes—over 200 altogether, compared to the 76 boxes we could load on the carts—which meant more power and better, more complete coverage, even to the upper reaches of the bowl.”

State Farm Stadium already featured a fixed L-Acoustics system installed in 2016, primarily comprising a total of 122 K2 and 32 K1-SB enclosures. In preparation for this year’s halftime show, ATK supplemented the installed system with six more identical arrays of 13 K2 over four K1-SB, three arrays per side suspended from the venue’s Brunel truss

system, plus four sideline hangs of KS28 subs. They also flew two 10-enclosure arrays of L-Acoustics K2 plus a single sub hang of eight KS28 at each end zone. ATK’s system was powered by L-Acoustics LA12X amplified controllers, while LA8 amplified controllers drove the house system.

“We turned off the stadium’s end-zone K2 hangs because they weren’t in the positions we needed for the show,” explains Kirk Powell, Engineer in Chief for ATK on the project. “They are more of a shower-cluster design and not the right fit for the system we designed. The K1-SB in the sideline clusters are configured more for low-frequency extension of the clusters,” with the eight clusters of KS28 providing the “true” subwoofer performance. Additionally, there was also a first-time deployment of eight Powersoft M-Force 30-inch subwoofers, which were positioned two per quadrant for the lower bowl.

There was a lot of power and a lot of subs, and, according to Powell, they all got plenty of use: “This was a heavy low-end show.”

Signal transport was over Dante to Focusrite RedNet D16Rs interfaces and from them to the LA12X amps over AES. The system was rounded out by a pair of DiGiCo Quantum338 audio consoles at FOH and an SD5 console used to mix monitors.

Dave Natale, who mixed front-of-house for Rihanna’s performance, has had a storied career. He’s mixed live sound for The Rolling Stones, Prince, Tina Turner, Stevie Nicks, Yes, Mötley Crüe, Fleetwood Mac, and more, as well as the four most recent Super Bowl halftime shows. He was, in a word, impressed by the performance of the K2 system there.

“This was a real ‘rock’ PA system,” says the person who knows one of those when he hears and steers one. “It was

one gigantic music system made up of the best technology and put together by people who really know what they’re doing. It didn’t just sound great—it sounded great everywhere. [ATK audio project manager, system designer, and pre-and post-game event mixer] Alex Guessard and I walked through the entire venue, from the 100 level to the 300 level and two levels of suites in between, and every seat sounded great. And that’s despite a challenging rigging situation that limited where they could place hangs, which were mostly along the sidelines.”

Natale had special praise for the system’s low end, which was especially critical for this show. The combination of the eight-box KS28 sub-cluster in each end zone, the four K1-SB atop each sideline hang, and two hangs of KS28 subs, coupled with the additional eight subs, created a “spectacular” lowend environment, he says. “They had to move a lot of air in there, and they did, with a ton of headroom to spare,” he adds. “It was simply powerful.”

Having an L-Acoustics PA as the installed venue system was also a huge plus. “We went with L-Acoustics primarily because it’s such a great-sounding system and because it really simplified system design and integration with the house system,” Powell points out. “It gave us more options, and options are great to have. The show sounded fantastic, and everyone was happy with how it turned out. Everyone was smiling at the end.”

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www.l-acoustics.com

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THE PLATFORM WITH THE AMPLIFIER ON BOARD.

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SENNHEISER

Rihanna delivered the second-most watched halftime show in Super Bowl history on Sunday, exceeding the average viewership of the Philadelphia Eagles and Kansas City Chiefs football match by five million, according to data from Fox. The highly anticipated performance was driven by Sennheiser’s Digital 6000 wireless microphone system and a custom chrome SKM 6000 transmitter with an MD 9235 dynamic cardioid microphone capsule. The choice to go with the Sennheiser wireless system may seem like a minor detail, but the sonic integrity of the performance hung in the balance as the State Farm Stadium in the greater Phoenix area is technically one of the most challenging environments

for coordinating wireless frequencies. There were over 2000 frequencies coordinated in Phoenix over the Super Bowl weekend as dozens of simultaneous events took place in the area, including the 2023 NFL Honors Awards, various VIP events, outdoor concerts and more. With this, and the ever-shrinking spectrum available for wireless microphone operators, the audio engineers and frequency coordinators for this year’s broadcast had their work cut out for them.

“Phoenix is a challenging city because it is the only one that officially does not have a vacant UHF TV channel. They are all allocated for broadcast, so there is very little

spectrum available for wireless mics,” said Joe Ciaudelli, Director of Spectrum & Innovation at Sennheiser, “to make matters more complicated, although it is an indoor stadium with a retractable roof, the State Farm Arena does not provide much shielding from outside RF signals, making it vulnerable to interference.” Ciaudelli is an industry veteran and international expert on spectrum and wireless system operations. He contributed the chapter on wireless microphones to the Audio Engineering Society (AES) Handbook and is a private sector adviser in the U.S. delegation to the International Telecommunications Union (ITU), the United Nations’ specialized agency on information

and communications.

The location and circumstances made the already highstakes Super Bowl halftime show that much more exacting for the audio professionals involved. “Thanks to their resourcefulness and diligent planning, the audio engineers and NFL frequency coordinators were able to combat the harsh RF environment this year by leveraging Special Temporary Authorizations (STA) via the FCC, along with some other workarounds,” recounts Ciaudelli. An STA gives licensed wireless microphone operators temporary access to frequency bands that are not permitted for wireless mics. The engineers also leveraged channels occupied by low power or

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distant TV stations and used clever placement of directional antennas to further attenuate these unwanted TV signals, before being picked up by the wireless microphone receivers. Without this planning and resourcefulness, the entire broadcast, including Rihanna’s performance, would have been at risk of audio dropouts and interference – a massive potential faux pas for her long-awaited showing. Beyond safeguarding the wireless signal via the STA and directional antennas, the audio team had to be thoughtful with the choice of the wireless microphone system for Rihanna. Not only to ensure her vocals sounded as remarkable as the last time she performed live all those years ago, but also to combat the tough RF environment and establish a reliable wireless connection. Her MD 9235 microphone capsule offered sparkle on her vocals, while the Digital 6000 did the rest. Ciaudelli shared: “Not only is the Digital 6000 with the MD 9235 capsule a great sounding

microphone, but it also has such good intermodulation suppression and a clean RF signal. This is one tool that would work in an environment where all others might fail – it is a marvel of engineering from both the RF and audio standpoints. I am not surprised that it was used by the star.”

Ciaudelli continued: “This year’s Super Bowl highlights the challenges of a lack of suitable available spectrum for wireless mics that has led STAs to be a tiresome staple at almost all professional sporting events today. Even though it is called a Special Temporary Authorization, it is becoming so routinely used that they might as well start calling them Standard Temporary Authorizations.” As professional sporting events become more multifaceted and the wireless audio and video channel counts increase, the challenges of the spectrum crunch will only get more difficult to navigate.

www.sennheiser.com

DAKTRONICS

Ahead of the kickoff of football’s biggest game of the season, the Arizona Cardinals and State Farm Stadium turned to Daktronics to manufacture and install a new end zone video display and ribbon displays at the stadium.

The new video display in the north end zone measures 30 feet high by 117 feet wide and features a 10-millimeter pixel spacing to total 3,663 square feet and 3.1 million pixels. It represents an increase of 44% in size compared to the previously existing display and introduces 7.3 times the pixels to deliver higher resolution imagery to fans on the sport’s biggest stage.

“These big games and exciting moments in sports are why we strive to provide the best products and services available on the market today,” said Daktronics Vice President of Live Events Jay Parker. “State Farm Stadium now has a full season under its belt with new displays and put on the best show possible for football’s biggest and final game of the season. We’re proud to play a part in the overall experience they provide.”

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

the industry-leader and most-experienced LED display manufacturer in the sports industry today. The peace-ofmind provided by that experience has led to the success of many large events on the biggest stages that sports have to offer.

A Daktronics service technician was on-site at State Farm Stadium in Phoenix, Arizona, USA, a week prior to the game to start pre-event checks on the system. Another two technicians joined this person at the stadium two days before the game to continue the service checks, run dress rehearsals and provide on-going support throughout the game. All three technicians ensured everything operated as expected and were available to jump in to support a smooth overall production.

The two ribbon displays in stalled prior to the 2022 football season helped surround fans in the game-day excitement. They added to the entire system that totals 19 LED displays that combine for 20,700 square feet of digital canvas used to inform and entertain fans at every event held at the stadium.

www.daktronics.com

The results are in, and The Big Game was third most watched television programme ever. More than 118 million viewers and seven million streamers watched as the Kansas City Chiefs and Philadelphia Eagles went head-to-head, with Rihanna taking the stage during halftime for her first performance since 2018. PRG brought technical labour, lighting, rigging, networking and LED to 2023’s pregame coverage and player introductions, and once again provided lighting and networking for the Apple Music Halftime Show.

Pregame LED, Lighting and Rigging

Production Club was back designing the custom light show, video wall and display featured in FOX sports coverage prior to Sunday’s game. PRG provided lighting and LED for the Lombardi Trophy presentation, lighting for DJ Snake’s performance, and lighting and LED for the player intros. Live locker room footage featured PRG’s tunnel lighting and LED walls. Then, players from both teams entered the field through custom carts fabricated by All Access, outfitted in ROE CB5 LED panels and lighting supplied by PRG. Production Club described it as “a vornado of scenic, lighting, SFX and video.” Visuals were Art Directed by Native Arizonian and Navajo Artist Randy L. Barton.

Tim Fallon acted as the Technical Director with Sophie Reeves as Lead Producer and Griffin Behm as Designer and LD for the segment.

PRG sent six lighting technicians, a fiber networking engineer, and an on-site project manager for the pregame segment. The lighting order included four GrandMA2 consoles distributed on site and more than 100 fixtures.

Halftime Lighting and Networking

Rihanna made her highly anticipated, gravity-defying debut to the halftime stage, featuring seven flown platforms, more than 200 dancers in all white, and zero guest performers. This was Rihanna’s solo moment, and the Roc Nation superstar artist did not disappoint, playing a medley of her biggest hits before finishing off the 13-minute mash-up with a performance of her song ‘Diamonds’.

PRG has been the trusted lighting provider of the halftime show for more than 20 years, and this year, in partnership with PRG Forum, is once again providing lighting and fiber network integration throughout the stadium for the lighting design by Al Gurdon and Ben Green. The Lighting Director was Harry Forster, with Eric Marchwinski and Mark Humphrey programming the show and Alen Sisul gaffing. Willo Perron conceptualized the show, with Bruce Rodgers as Creative Director and Production Designer. Gear from PRG included cables, networking, power, infrastructure and more than 600 lighting fixtures, among them 6 proprietary PRG GroundControl Longthrow™ units, controlled by three Full GrandMA3s and one Light. During the halftime commentary, fans got a glimpse of the 7.5-minute setup, as the crew quickly assembled the stage and all production elements.

“This halftime show was a historic moment for Roc Nation, and PRG was proud to support it,” said PRG VP of Sales Tony Ward. “Providing lighting for the most watched moment in television is a challenge and a privilege that we look forward to taking on each year.”

www.prg.com

BRING THE ENERGY

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

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

PixMob’s fifth appearance at the Super Bowl LVII Halftime show looked a little bit different than the four previous occasions the Montreal-based company had been involved. This year, Rihanna and her dancers appeared on seven floating platforms, which were illuminated by PixMob technology, over the State Farm Stadium. These platforms, which were automated by TAIT over a gorgeous red set designed by Bruce Rogers, were a first of their kind at the Super Bowl. This was a particularly novel way for PixMob to be a part of the highly-anticipated event, compared to previous years, for which the PixMob team provided wearables for fans within the stadiums to create a visual spectacle that was truly incredible.

To light up the platforms, PixMob used its new wireless NOVA product - the company’s brightest pixel ever made. A total of 600 rugged LED NOVA’s were found in each of the seven platforms, creating a total of 4,200 units. A diffusing system was created by TAIT to overlay uniform colours throughout all platforms. Powered by a rechargeable LiPo battery, each pixel had a lasting charge of 25 hours, allowing the batteries to only be changed once during the two weeks of rehearsal leading up to the show.

The desired effect by the production team was to have colours and movement under the platforms at all times. With the execution of the grouping effects and the 12 Infrared controllers, PixMob were able to create movement and different lighting patterns throughout the show. One of the main challenges was to make sure the platform was lit up wherever it was - and it was the IR reflection on

the playing field that allowed the team to achieve that, even with the platform close to the ground. An additional challenge that was brought to the team was to remotely control the LED tape placed on each platform. Again, with the IR technology and the research and development team’s hard work, the invention of a new hardware device was completed in less than three weeks to specifically respond to this challenge.

PixMob, once again, demonstrated its ability to innovate and transform - a signature ability of the company when it comes to large-scale events - to help deliver another spectacular Halftime Show.

“We are super proud of our whole team, and the success of the Super Bowl Halftime show and grateful for the incredible people we got to collaborate with once again,” said JeanOlivier Dalphond, partner at PixMob.

www.pixmob.com

LIGHT UP ANY VENUE OR ANY STAGE

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

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Wireless Available for rent

HARLEQUIN

Rihanna’s much-anticipated performance at Super Bowl LVII was one of the most talked about halftime shows of all time. After a seven-year break from touring and performing live, Rihanna returned to the stage for her much-anticipated performance at Super Bowl LVII. The superstar performed a 12-hit medley at the iconic halftime show.

TAIT were brought in from the beginning to deliver an audacious set design, which included automated floating platforms that elevated Rihanna several feet in the air as she performed at the State Farm Stadium.

TAIT also had to oversee the fabrication of the set, as well as deliver their automation experience.

For the surface of the floating platforms, the company opted for Harlequin’s Hi-Shine silver.

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

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

Chapman explained that, although they were not aware in the initial stages what the Hi-Shine was going to be used for, the team was delighted to see the end result and to have played an important role at Super Bowl LVII halftime show: “The Harlequin Hi-Shine silver floor on the platforms was laid perfectly, giving a dramatic effect and tying the performance together nicely.”

Airing from the home of the Arizona Cardinals, which boasts a total capacity of over 63,000, the performance was captured by TAIT’s Navigator Camera System. TAIT also rigged each platform in various locations to ensure extra stability while Rihanna and her dancers were moving around during the performance.

www.harlequinfloors.com

Experts in floors for events and production

Harlequin’s event and display floors are the industry choice for concerts and tours including Shawn Mendes, Hugh Jackson and most recently the half time show at the 2023 Super Bowl where Rihanna performed on a Harlequin Hi-Shine vinyl floor.

Contact a technical expert from one of our global offices or find more information on our website.

In preparation for its coverage of Super Bowl LVII, FOX Sports built a remote studio on site, directly across from State Farm Stadium, at The Great Lawn in Glendale, Arizona. FOX Sports requested a one-of-a-kind PA sound system that was uniquely suited to the studio, in that it needed to both sound great and look the part for the local fan experience.

“We needed a discreet yet powerful production audio system integrated into our Live Presentation Stage for Fox Sports’ coverage of the 2023 NFL Super Bowl,” explained Rod Conti, Vice President of Remote Studio Operations at FOX Sports.

“K-ARRAY was introduced to us by our long time audio vendors, CP Communication. With their strong, hands-on knowledge of audio and existing relationship with FOX, this was the perfect introduction to this cutting edge technology.”

The collaboration between K-ARRAY, CP Communications, and the visual concept and design drawings showing the PA towers complementing FOX’s remote studio set was created and submitted by Sean Sweeney, which helped portray to FOX’s technical team that K-ARRAY would be the best application to use for one of the most popular televised events worldwide.

CP Communications provided multiple K-ARRAY systems within six custom fabricated PA tower structures (KY102’s and KK102’s), which were powered by various KMT218’s and KMT18’s. The centre fills for the entire front of the remote studio were covered with 34 x KAN200’s, powered by the KS4 I’s subwoofers and the KA24 amplifier. K-ARRAY’s

K-GEAR GH12’s were also used as front left and right fills outside the remote studio section, where the main talent desk was located. KAN200’s were also used inside the studio as audience foldback during several FS1 shows with a live studio audience, such as ‘Undisputed’ with Skip and Shannon. The entire system was connected by analog Ethercon and XLR, as well as being controlled and mixed by a DiGiCo SD10 digital audio console.

CP Communications has a long-standing partnership with FOX Sports, providing mission critical transmission solutions, RF Audio and RF Video, and B4B broadcast services. Sean Sweeney, PA Project Manager at CP Communications, worked closely with Technical Producer and FOX Sports Consultant, Daniel ‘Pineapple’ James for the initial placement, layout, cabling, and signal flow for each of the K-ARRAY PA towers and centre fill components.

The custom PA towers became an integral part of the remote studio for the on-site fan experience. These physical structures were fabricated by FOX’s staging provider, Filmwerks, and the PA tower structures provided the ability for both the Kayman and Kobra speakers to be rigged and mounted within the interior portion of each tower. Every section of these 12’ towers were custom branded from top to bottom with FOX and SBLVII logos, and artwork, which then helped to conceal the appearance of any hardware for live television, which was a very important visual concern for FOX Sports.

K-ARRAY

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

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

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

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

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

“Since our introduction to this line of products, we haven’t looked back. The future looks good for FOX Sports and K-ARRAY partnership.”

www.k-array.com

Relive the unforgettable Super Bowl LVII experience with K-array’s Pinnacle Systems and KGEAR speakers at the FOX Sports broadcast studio. Thousands gathered for kick-off around the open air studio, while millions joined virtually to be a part of the ultimate game day atmosphere.

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VENUE FOCUS

PROJECTION MAPPING

046 CItizens Bank Park | Philadelphia, USA

COMMUNICATIONS

052 BCX World Championship | Oregon, USA

AUDIO

058 Stade Gilbert Brutus | Perpignan, France

LIGHTING

062 Six Day Race Berlin | Berlin, Germany

EPOS & HOSPITALITY

066 Motorpoint Arena | Nottingham, England

BROADCAST

070 2023 Rugby Europe Championship | Europe

RIGGING & STRUCTURES

072 Dubai World Cup | Dubai, UAE

CITIZENS BANK PARK

Philadelphia, USA

Quince Imaging partnered with the Philadelphia Phillies to provide baseball fans with a memorable projection show in an Independence Day celebration like no other.

As the birthplace of life, liberty, and the pursuit of happiness, the Fourth of July is Philadelphia’s hometown holiday. Last summer, the city’s beloved Major League Baseball team, the Philadelphia Phillies, wanted to put their stamp on the holiday with a celebration as iconic as America’s favorite pastime. Impressed with the reaction received from fans following the dazzling projection show at the Las Vegas Golden Knights’ season-opener against the NHL’s Seattle Kraken in October of 2021 produced by Quince Imaging, Phillies’ Marketing Events & Special Projects Director, James Trout, contacted Quince in the spring to make its annual fireworks event bigger and better with a jaw-dropping projection experience on the field before the fireworks at Citizens Bank Park.

Playing before a sellout crowd of 44,225 people, The Phillie Phanatic Saves the 4th featured one of the most popular mascots in sports in an action-packed adventure to save the first bat in America.

The 10-minute production led to a 3D projection light show showcasing stirring patriotic images and celebrated local landmarks on the infield before the annual fireworks show began. It was the culmination of months of hard work to provide fans with a unique pre-game experience. Along with creating memories of a lifetime for those in attendance, the production resulted in the Phillies becoming the first MLB team to utilise projection mapping for a regular season game in tandem with the other immersive elements for a truly unforgettable fan experience.

Quince Imaging provided a complete creative package that included design, installation, content, and production services, with an 11-person crew working at Citizens Bank Park from June 25-July 5, 2022, to put the show together. On-site production and logistics coordination included structures, power, video equipment, and facility interfacing. The project had two main requirements: to design and sync with the lead-in video produced by the Phillies and to work directly with Pyrotechnico pyrotechnics company to tie in Quince’s final projection with the start of the fireworks show. The technology package included 12 Christie Boxer 4k30 projectors, two disguise vx4pro media servers, and software

ranging from Cinema 4-D to Mapping Matter by disguise. The Phillies baseball schedule was busy leading up to the event, giving the production team a limited timeline for rehearsal and set up for a large-scale project that required perfect execution. Logistics during load-in and set-up posed a challenge. They needed careful coordination to maintain stadium operations leading up to the event, with several Phillies home games taking place during this time. However, the clear storyline provided by the Phillies marketing team helped Quince Imaging utilize its technology in the most advanced way possible to execute a flawless experience. Quince Imaging was proud to have contributed to an unforgettable fan experience that honoured the country and

provided a shared moment for fans and their families to cherish. The Phillies’ projection mapping installation during their MLB World Series run was a stunning addition that captured the attention of fans and created a lasting impact. Quince applied its expertise and creativity to help make this remarkable event successful. Being integral to such a significant moment in sports history was truly meaningful for the company:

“It’s a feeling that I want to bottle up forever and never let go,” Phillies’ Video Content Manager, Mike Licisyn, said. “The fans were so engaged in every aspect of it. The fans were laughing and cheering, and then when the Phanatic arrived, the entire stadium erupted. It was incredible.”

BRANDS: Quince Imaging, Christie, disguise

2022 BCX WORLD CHAMPIONSHIP

Atlanta, USA

Held in November 2022 at the Cobb Galleria in Atlanta, GA, the BCX World Championship is the 7th annual event of its kind. It is also the biggest Brawlhalla esports tournament ever, and the first open, in-person event with attendees since 2019. Developed by Atlanta-based Blue Mammoth Games and published by Ubisoft, Brawlhalla is an immensely popular free platform fighting game with over 80 million players worldwide. Beyond the competition itself and the opportunity for fans to congregate and meet other like-minded individuals, the event was a full expo featuring a variety of activities and series of developer panels throughout the three-day event.

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

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

Images: Clear-Com

people don’t know how the systems interact. There are a lot of different systems that have to talk to each other that you wouldn’t normally use in traditional sports environments.”

As a longtime Clear-Com partner, Skillshot’s use of ClearCom technology is “almost like beta-testing products” for the Esports environment, Roberts added, citing the company’s early adoption of Clear-Com products, including HelixNet, FreeSpeak II, the recently released Arcadia platform, and Station and Agent IC.

For the BCX World Championship, Skillshot deployed a system comprising an Eclipse® HX-Median frame, two E-DANTE and one E-IPA interface card, five FreeSpeak II® transceivers, 20 FSII beltpacks, 12 V-Series Iris™ panels, and three Station-IC™ Virtual Desktop Client and Agent-IC® Mobile App licenses.

Coordinating the various systems and ensuring they’re working correctly and set up clearly requires “a lot of hands, brains, and voices,” Roberts noted, adding that the amount of traffic and conversation flow for an event like this goes well beyond everybody taking orders. “There’s a lot of two-way traffic in the communication workflow, so we always bring in a comms specialist to put the puzzle pieces together.” In this

case, that was Clear-Com Product Manager, Frank Linton, who worked closely with Skillshot on the system design and was pivotal in integrating the various communications technologies.

Prep work and pre-planning among multiple stakeholders (event organizers, executive producers, production crew, competitors, on-air talent, and game developers) took roughly six months. The three-day event involved two simultaneous live broadcasts, seven simultaneous transition feeds, and 30+ hours of broadcast captured by approximately 35 cameras. Moreover, it required rock-solid, reliable communication between roughly 200 crew members, 17 onair talents, and over 600 active competitors.

Calling this an unusually comms-heavy event is an understatement. “These world championships are the biggest events for game developers for the entire year; the equivalent of a Super Bowl for esports,” Roberts said. Although the technical requirements are different and the playing field is virtual, the pressure to perform is similar to traditional sporting events for gamers and everyone working behind the scenes. It’s a fast-paced gaming environment, even more so than a traditional sporting event, and one with

fewer breaks in play. Then there’s the additional layer of capturing and transmitting audio from computers and game consoles that aren’t necessarily designed for broadcast. On-site or not, for everyone involved, in any capacity, counting down to going live is intense. “There’s little room for error,” Roberts added. “Live production is unforgiving; once it’s out there, it lives on the Internet. It doesn’t give you a chance to correct mistakes. So communications can make or break the show.”

“The Clear-Com system was invaluable,” he continued. “For us, the most important thing about Clear-Com is that with all the different products and features, we’re still able to integrate it with other systems and their mainframes. No event we’ve done has been the same, so we always have to have the ability to add, subtract or change the gear to mix and match technologies.”

Doing so fluidly and efficiently and helping others do the

same continues to fuel the success of Skillshot’s ongoing work with Clear-Com. “I would say our partnership is built around education,” Roberts says. “We train people to use Clear-Com so they can go out and support others in the industry. We do workshops with Clear-Com covering how we integrate systems in esports -- which, again, is very different from other broadcast applications.”

Ultimately, Clear-Com is a no-brainer for Skillshot for a multitude of reasons: the price point, quality, reliability, and the wide range of technology on offer.

“They take a lot of pride in making sure people buying their product are offered training and support. That’s a big element for us,” Roberts added. “But, most importantly, it’s the audio quality. Even when people in-house open their mics in a loud environment, it’s clear and defined, and we can actually hear that (level of) definition through them.

Clear-Com is a great provider.”

STADE GILBERT BRUTUS

Perpignan, France

Images: NEXO

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

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

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

to install a NEXO system at their ground, following a public tender process.

The choice of several prestigious sporting venues including Croke Park in Dublin, Optus Stadium in Perth, Japan’s Toyota Stadium and the French national stadium the Stade de France, NEXO’s GEO S12 has earned an enviable global reputation for performance, dependability and costefficiency.

Available in EN54-rated and long-throw versions, and in shallow or steeper tapering cabinets to allow for larger array angles, the compact, 2-way GEO S12 is a scalable loudspeaker

module that displays exceptional MF-LF output (103dB SPL nominal sensitivity -1W @1m) from a single 12-inch LF driver and NEXO’s proprietary Directivity Phase Device (DPD). NEXO’s unique Hyperboloid Reflective Wavesource (HRW) allows coupled cabinets to radiate as coherent, wavefronts, yielding precise pattern control in vertical or horizontal arrays.

The system at Stade Gilbert Brutus was designed by NEXO’s Engineering Support team using the company’s NS-1 system configuration software. An intuitive drag and drop interface includes all NEXO systems with measured speaker data

processed along with complex mathematical data to predict SPL and delay coverage in 3 dimensions. NS-1 combines full acoustical and mechanical computations along with tools for optimising curved vertical array design. A Help section defines mechanical constraints to establish flown system safety, and generates reports for system dimensions, weight, gravity centre position, forces, moments, working load and safety factors.

The Bonzoms Stand is covered by six clusters of three GEO S12, supplemented by six NEXO P10 point source loudspeakers covering the highest seats in the stand on a delay. Six clusters of four GEO S12 cover the West Stand and a further seven P10s cover the smallest stand, with amplification and

processing provided by NEXO’s networkable NXAMPMk2 powered controllers.

The notoriously windy conditions in Perpignan required the team at Sud Media System to manufacture and certify custom brackets to attach the new enclosure clusters to the existing structures.

Members of the NEXO Engineering Support team visited the stadium to tune and commission the new sound system, including Carole Marsaud (pictured centre). “It was good to work with the team from SMS who completed a very clean installation at this second stadium in Perpignan. The sound was great in all the stands, and we achieved excellent results for both SPL and intelligibility.”

SIX DAY RACE BERLIN 2023

Berlin, Germany

Images: Cameo

From January 27 to 29 2023, the 110th Six Day 2023 took place at the Velodrom in Berlin. The cycling race, also known as the Six Day Race, is one of the absolute sporting highlights of the German capital, sending the professionals out on to an impressive 250-metre oval track. This year, the lighting in the Velodrom was the responsibility of AVM Event Veranstaltungstechnik & Service GmbH, which already has years of experience with the SixDays offshoot in Bremen, north Germany. With more than 300 Cameo spotlights used in Berlin, the full-service provider relied on an extremely impressive lighting setup.

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

“The ZENIT W600-D made all the difference,” confirmed Jens Wiegandt, Owner of AVM Event. “The organiser spoke of the best performance ever! For us, the ZENIT W600-D is currently the best solution for sports and trade fair events on the market.” In addition, the LED washlights ensured a lower hanging load and enabled the team to also use the spotlights as blinders in the showlight design.

In addition to the ZENIT W-600-D, AVM used 70 Cameo OPUS H5 beam spot wash hybrid moving heads to project gobos on to the track and create effect beams throughout the hall. The show lighting design was complemented by 24 OPUS S5 Spot-Moving-Heads, among other things, to stage artistic cyclists inside the hall. For further tasks inside and outside the hall, including the illumination of the taxi and shuttle stops, ZENIT W600 LED washlights with RGBW were used. In the VIP lounge of the Velodrom, the battery-operated B200

and B60 C LSD models provided flexible and discreet ambient lighting.

AVM had a special task in mind for the Cameo OTOS H5 Hybrid Moving Heads. Placed directly on the show stage, the IP65-capable hybrid moving heads did not just have to effectively stage the show acts; they also had to withstand the champagne showers of the awards ceremonies! Thanks to their jet water protection, however, the team was able to clean the OTOS H5 with a jet of water after each “shower” without any problems.

At AVM, the huge Cameo material pool is constantly in use –from trade fair events in the cities of Hanover and Bremen, to conferences, concerts, and festivals. For Jens Wiegandt, this is no reason to rest on his laurels: “You can never have enough ZENIT W600s! And, I’m curious to see what will happen with the OTOS Series in the future.”

HOSPITALITYTECHNOLOGY

MOTORPOINT ARENA NOTTINGHAM

Nottingham, England

The Motorpoint Arena Nottingham is a world-class entertainment venue and a hub for live entertainment and ice hockey in the East Midlands, UK, attracting visitors from across the region and internationally. Showcasing the biggest names in sport, music and comedy, the 10,000-seat arena is one of the most versatile and vibrant venues in the UK.

The arena’s management team faced some challenges in relation to the customer experience at concourse outlets, so, in a bid to help improve the experience and stay ahead of the competition, the venue decided to implement the Kappture hospitality technology solution. The Kappture team worked closely with the arena and,

Images: Kappture

in particular, Head of IT, Jonathan West, to understand the specific requirements and successfully delivered the solution to a tight deadline. The result was a smooth and seamless integration of the new system that has transformed the way the arena operates and has brought many benefits to both the customers and the management team.

Jonathan explained further: “We had a very specific criteria for what we wanted to achieve with the upgrade – speed of service and enhancing the visitor experience were major drivers in selecting Kappture.”

One of the key benefits of the Kappture system is its stability. The software is designed to be robust and reliable, and this has been reflected in the reduced downtime experienced by the arena since its implementation. The system has been running smoothly, with minimal interruptions, allowing the arena to provide a seamless and uninterrupted customer experience.

Another significant benefit of the Kappture solution is the increased transaction speed. The Barclaycard integration has enabled the arena to process transactions much faster than before. This has helped to reduce the time customers spend in queues and has allowed them to enjoy events with minimal disruption. This has been especially beneficial during peak times when the arena is busiest, and has been well received by customers who appreciate the quick and efficient service. In addition to the improved transaction speed, the Kappture system has minimise queues. The system provides real-time

data on customer numbers through heatmaps, allowing the arena to anticipate bottlenecks and take steps to mitigate them. The result is a smoother and more efficient customer experience, with shorter waiting times and fewer frustrated customers.

“From start to finish, we have been really impressed with the Kappture system, but, equally as important, the quality of service. It’s refreshing to deal with a supplier so knowledgeable but also approachable,” added Jonathan. The implementation of the Kappture solution has also brought benefits to the arena’s management team. The system provides real-time data and insights into the arena’s operations, enabling the management team to make informed decisions and respond quickly to any issues that may arise. The system is easy to use and provides real-time updates on sales, revenue, and stock numbers, allowing the management team to monitor performance and make adjustments where necessary.

The implementation of the Kappture hospitality technology solution has been a huge success for Motorpoint Arena Nottingham. The system has helped to improve the customer experience through reduced downtime, increased transaction speed, and minimised queues. The fast turnaround time and excellent customer support provided by the Kappture team has been instrumental in the success of the project - and the arena’s management team is confident that the benefits will continue to be felt for many years to come.

MANUFACTURER: Kappture | WEBSITE: kappture.com

2023 RUGBY EUROPE CHAMPIONSHIP

Belgium | Georgia | Germany | Netherlands

Poland | Portugal | Romania | Spain

Images: Dejero

Dejero Smart Blending Technology is being relied upon for the international broadcasting of The Rugby European Championship 2023 by its channel partner and international production company, Quality, to produce, deliver and distribute highvalue content to the event’s 11 rights holders.

With Belgium, Germany, Netherlands, Poland, Romania and Spain now out of the running now for the Champion’s spot, the Final is scheduled for 19 March, 2023 between defending Champions Georgia and remaining Portugal at Estadio Nuevo Vivero, Badajoz, Spain. Quality will also be covering the second and third, and sixth and seventh place finals in Bandajoz, as well as fourth and fifth place finals at NRCA Stadium in Amsterdam, which also take place on 19 March. Quality has carried six Dejero EnGo video mobile transmitters across eight European cities to each stadium throughout the

tournament. The EnGos, which have glass-to-glass latency of 0.5 seconds, transmit live feeds from six cameras at each match.

Two Dejero WayPoint receivers are located at Quality’s production hub in Madrid where final production including graphics and commentary take place. The WayPoint devices reconstruct and decode the video feeds which are entered into a matrix to be shared with the switcher and replay systems .The packaged video is then uplinked to Quality’s satellite provider via another Dejero EnGo from where the rights holders downlink the final content to air.

“The Dejero EnGos remove any vulnerability to network disruptions and outages that may occur on fiber, cable and DSL services by adding resilient wireless connectivity to the stadiums’ fixed-line broadband,” explains Santiago José Salgado, Executive Sports Producer, Quality.

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

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

“Just two years ago, at the last Rugby European Championships, we used Outside Broadcast (OB) vans to cover key matches, which meant sending a full production crew on site and relying on satellite connectivity,” explains Salgado. “Since then, we have developed a lean remote production model which means only the camera operators, a single producer and a single technician are required at the stadiums. Dejero solutions have played a key role in the success of this remote model.”

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

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

MANUFACTURER: Dejero | WEBSITE:

DUBAI WORLD CUP

Dubai, UAE

The Dubai World Cup is one of the most prestigious horse races in the world and marks the end of the Dubai racing season. To mark this occasion, each year the Dubai Racing Club stage a lavish closing ceremony. This year Artists in Motion (AIM), were contracted to deliver a show that was to be bigger than any ceremony to date. The show included Video, Lighting, Sound, 1900 UAV drones, aerobatic planes, pyrotechnics, and Unusual Rigging & Engineering (URE) was on hand to provide structure and rigging to support the main screen and lighting fixtures.

Liz Goodyer, Executive Producer, AIM said: “Our brief was to support a large LED screen with minimal visually intrusive rigging but maximum safety. AIM and our team have not worked directly with URE before, however we have worked alongside them on many international events and their reputation precedes them, so we were thrilled to be able to work together on this project.”

Liz continued: “With the audience onsite during the day, it was important to our client to not have the visual of intrusive structures around the racecourse. It was vital to maintain

a clear line of sight for the race caller from the main stand to the far side of the track. This meant the screen had to be held in a low position, during the day and only reveal its full height just prior to the ceremony commencing. The UREteam was instrumental in making this happen.”

Work began on-site on March 6, following the conclusion of the last race meeting, to install test and rehearse all systems. Nick Newey, Technical Director at AIM, commented: “URE set out a schedule of work to achieve the timeline and they stayed right on track throughout the build and dismantle. The original plan was to use a mesh projection surface. We’d used this on previous large events, however we tested the system in situ at Meydan and the amount of ambient light from the stadium and city surround washed out the projection and did not achieve the desired effect. So, two months of planning and engineering was thrown out and we had two weeks to completely re-design the system.”

Liz added: “URE pulled out all the stops, worked overtime and weekends to take our revised plans and design and engineer the system in record time, bringing great peace of

Images: Unusual Rigging & Engineering

mind to the AIM team.”

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

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

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

INCROWD CAST

Sport’s Most Technically Advanced & Innovative LED Display Software

InCrowd Cast is a game-changing in-stadia LED display management software, currently powering over 130 stadiums and sports venues around the world including Wembley Stadium, Johan Cruyff Arena, Murrayfield, Stamford Bridge, Stadium Australia and Sydney Cricket Ground.

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

INDUSTRY LEADING TECHNOLOGY

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

Standout features include:

Templates and auto-generated playlists; Module chains and zone creation with Independent zone playback; Sun shader technology; Hot keys; Network and MIDI triggers; Live redundancy; Audit logs with online management platform integrations; UEFA compliance; and Activation blocks. Built to solve common issues faced with other display technology, Cast is focussed on ease of use and hyper efficiency with tools like automatic resizing of content to fit the given area and optional tiling of content where appropriate.

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

FLEXIBILITY SOLUTIONS

The flexibility of Cast makes it a market-leading solution. Users have the ability to create and edit playlists during matches in addition to flexible zones and module chain systems, perfect for the fast pace and high brand value of sports and the necessity to cater for precise needs of sponsorship partners and the spectacular moments of the game. Cast is able to adapt to any size LED screen and any number of LED modules; perfect for stadiums with varying perimeter lengths, proven by Casts performance across several high profile cricket and football stadiums around the world.

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

UNCOMPROMISED USABILITY

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

Importantly, Cast does not require access to the internet to be used, especially useful for those stadiums with inconsistent Wi-Fi.

KEY CASE STUDY - TLA WORLDWIDE

InCrowd has been the LED and Fan Activation software provider to Australian company TLA Worldwide and their sporting partners since 2019, with Cast software powering 13 venues across 800+ events and 4 kilometres of LED perimeters and mid tiers for the AFL, NRL, Rugby Union, Netball and Cricket.

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

InCrowd updated all of TLA Sport’s LED systems with the industry-leading InCrowd Cast software, immediately solving all their challenges. TLA are now able to power multiple screens all from one system and create an event playlist in less than 1 hour. TLA have also started to utilise the software’s ability to ingest live data feeds to improve the fan experience in venues and offer new activations for partners, including live voting, social media feeds and live stats.

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

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

Vanessa Boatwright –General Manager, Sport.

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

MEYER SOUND

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

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

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

You asked for a lighter, more powerful line array.

How about

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

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

ADI | VENUE TECH ROADSHOW

ADI BRING LATEST SOLUTIONS DIRECT TO VENUES

Digital Stadium Specialists, ADI, has kicked off its latest Venue Tech Roadshow with a tour of Holland’s leading clubs to deliver live, interactive demonstrations of stadium technology to commercial, operational and marketing teams.

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

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

Why a Roadshow?

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

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

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

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

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

What’s on Show?

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

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

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

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

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

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

Book Your Tour Slot

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

BRINGING NEXT GENERATION VENUE TECHNOLOGY, DIRECT TO YOUR STADIUM !

WHAT TO EXPECT?

We’re showcasing the latest integrated stadium digital solutions. We’re bringing live, interactive demonstrations featuring amazing tech, incredible digital screens and signage, and awesome content. All fully self-contained in ADI’s iCONIC X POD that we’ll setup in your venue carpark in under an hour.

WANT THE ROADSHOW TO VISIT YOUR VENUE?

REGISTER NOW AT ROADSHOW.ADI.TV

HOW LONG DOES IT LAST?

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

WHO SHOULD ATTEND?

Typically the target audience is:

Head of Commercial | Head of Partnerships | Head of Operations | Head of Facilities | Head of IT | Head of Design and Content | CEO / CCO / CFO

BOLERO

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

ENHANCED WORKFLOWS FOR SORTS PRODUCTION

• Operates standalone or integrated in digital matrix intercom systems

• Up to 250 Beltpacks and 100 Antennas in a network

• 10 beltpacks per antenna

• Patented ADR (Advanced DECT receiver) technology for an unrivaled radio performance

• Fast and Secure NFC (Near Field Communication) and OTA (Over The Air) beltpack registration

• Bluetooth support for bluetooth headset or smartphone connectivity

• Standard AES67 IP network, CAT5 daisy chain or redundant ring antenna network

• Redundant antenna power

More than a match.

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

Discover more: dbaudio.com/sports-venues

The art of creative engineering.