MONDO | STADIA - Issue 30 - June | July

MOODY CENTER

We take a closer look at the design and technology installed at Austin’s 15,000-seat, multipurpose arena.

BUTLER ESPORTS PARK

NewTek delivers state-of-the-art broadcast production facilties for Butler University’s new Esports venue.

TROPICANA FIELD

The home of the Tampa Bay Rays has been given a visual upgrade, with digiLED supplying new LED displays.

EXPERIENCE STUDIOS

Mark Murphy discusses designing and delivering technical systems and creative content for sports, entertainment, and art.

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WELCOME

elcome to ISSUE 30 of MONDO | STADIA!

WWe were delighted to chat with Mark Murphy, Founder & Director of Experience Studios. It was a fascinating interview, with Mark discussing his wide-ranging career in AV design, working on the likes of Wembley Stadium, Wimbledon Centre Court and Tottenham Hotspur Stadium, to name but a few. Now, with the new venture - working closely with Populous - Mark gave us some incredible insight into the AV design of large venues and how his team value creativity in their projects. Check out the full interview on page 8.

We’ve covered Austin’s Moody Center, too, taking a closer look at the 15,000seat venue, with contributions from Henderson Engineers, Daktronics, JBL and Diversified.

There’s also a focus on Butler Esports Park - the new esports and innovation space at Butler University. We’ve taken a look at the design from Populous, as well as the state-of-the-art technology from NewTek powering the broadcast production capabilities for live events and streaming.

Our cover is the spectacular WrestleMania at SoFi Stadium, with the two-night event of LED screens and scenic video technology all driven by Green Hippo’s Hippotizer Boreal+ Media Servers.

Elsewhere, we have plenty of other venues, including Coopers Stadium in Adelaide, which is now equipped with a new d&b audio system, as well as Kappture’s EPOS installation at Brentford FC’s Gtech Community Stadium. There are many more projects and technology inside, too...

Enjoy the latest issue!

Sam Hughes Editorial Director

Sam Hughes s.hughes@mondiale.co.uk

Commercial

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

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30 INTERVIEW

“We aim to create a design that becomes a living, breathing part of the venue, connecting with the planners, promoters, artists, and everyone involved.”

Mark Murphy Founder / Director Experience Studios

Mark Murphy (left) and Kevin Luckhurst (right), founders of Experience Studios

MARK MURPHY, FOUNDER / DIRECTOR, EXPERIENCE STUDIOS

Firstly, can you introduce yourselves and give us some background to your careers?

Like many others, I began my journey as an amateur musician during my teenage years. However, I didn’t actually study music and my options were limited, so I discovered a degree called Electro Acoustics, which focused on audio systems, venues, and the science behind them. It was a brilliant degree that fascinated me, really. From there, I met someone who was involved in designing recording studios. That really interested me, so I made a few calls and managed to secure some work with a company in London and actually went on to work with them after I graduated. As a result of that work, I met a few more people in the industry and found myself, in 1999, working on the audio system for the Millennium Dome that was due to open the following year. I spent a year on that project, which was an incredible, exciting experience that gave me a real taste of a deadline-driven project and how they work.

And how did you first get into the stadium industry?

Again, through meeting people – I met somebody who was working at Wembley Stadium and managed to get a role there as a designer when the venue was going to be demolished and rebuilt. And that’s how I got into the large venue work. Funnily enough, after the Millennium Dome closed, I also worked on the design of O2 Arena, so that was two amazing projects to be part of. Shortly after, I worked on the Wimbledon Centre Court project, which was done by the architectural practice that is now Populous.

I was a designer of audiovisual systems and acoustics – and, rolling forwards, that led to working on the

London Olympic Stadium and right across the Olympic Park’s permanent venues. One of the key aspects of that role was bridging the gap between the systems designed and installed by contractors and the specific needs of the venue teams for running events. Often, there was a disconnect between what was installed and what the venue teams actually required. It was about facilitating the coordination and integration of these systems to ensure they aligned with the demands of the events. It was obviously great to be part of making a huge event such as that a success.

We actually supported the venues on site for the 2012 Olympics, with a team of 20 people operating on shifts for both the Olympics and Paralympics. It was a great first-hand user experience to help you understand the unique requirements for venues and events.

I have always been driven by a passion for understanding the creative intent behind the systems, aligning them with the events taking place and working closely with construction and design teams to ensure the seamless integration of permanent installations. The intertwining of these aspects has pretty much defined my working life.

You were a big part of the Tottenham Hotspur Stadium project – can you tell us more about that?

I was approached to join the Tottenham Hotspur Stadium project – it was actually a secondment, so I served at the club for three years as the Audiovisual Project Manager for the stadium development. I was responsible for the LED Displays, IPTV, audio systems, presentation systems, and matchday production throughout the stadium. It was an amazing project to

work on and, of course, another Populous project, which goes to show how much I’ve worked with them over the years! It was the same kind of narrative of effectively helping to get hardware in construction projects and dealing with audiovisual systems and matchday production. However, it became apparent that the club as a whole was undergoing significant transformation. The construction was not solely about the new stadium; it entailed a comprehensive shift in the way the organisation operated and functioned and brought forth a renewed drive and aspiration. As part of Tottenham Hotspur, we aimed to establish a fresh approach and tried to shape a new vision ahead of the move. You just cannot fault the aspiration in terms of what Spurs wanted to achieve with that new stadium. It is absolutely the benchmark and that was down to Daniel Levy’s desire to make it the best in the world. We had a lot of meetings and he really understood the value of investing in the technology. We did a lot of reviewing and upgrading to change the customer experience, but that, interestingly, really led us to start to consider what we were going to actually do with all this hardware. What’s going to run on this? Who is going to make the content? How are we going to operate it? And that’s where I found my role. It grew from there and really developed the creative strategy. It helped with recruitment for production, creative and support to help build the look

and feel of the stadium. It really tied the technical and creative element together.

How did Experience Studios begin – and what is it that excites you about this new venture?

Everything in my working life has culminated towards Experience Studios. I was working at a small company and was presented with an unexpected opportunity. It felt like an incredible chance to be part of a family that shared the same passion for building world-class venues and creating exceptional experiences. I also reconnected with Kevin Luckhurst (Director / Founder of Experience Studios), with whom I had previously worked with in years gone by. He had a history in music production and DJing, which translated into his previous role and involvement in creative and arts projects. One notable project he had worked on was Outernet London, that emphasised immersive video and spatial audio experiences. So, we joined forces at Experience Studios and aimed to leverage our combined 40 years of experience and align it with the current landscape. The most exciting aspect for me was witnessing the dramatic changes in the tools we use for our work. Technology has been evolving rapidly, particularly in the realms of video, AI, production tools, immersive environments, and VR. This ongoing shift in the technological

MUCcc Arena, Munich

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landscape has been inspiring. The tools we once used to struggle with, such as working in 3D or using computational tools to design and understand venue sound and video systems, have now become clunky and outdated. However, the transformation has really opened up new possibilities. For instance, I recall presenting a project to Daniel Levy before the Tottenham Hotspur Stadium was built. I built the entire presentation in a tool called Disguise Designer and, at the time, it felt like a revolution. However, compared to the tools available now, it pales in comparison. The current workflow involves integrating Unreal Engine as a plugin into architectural design software like Revit. This integration allows us to connect lighting, video, and spatial audio through wireframes, creating a seamless architecturalto-content workflow. The same tools used to design the architecture are used to present and preview shows, enabling clients to visualise and experience their vision in 3D. This convergence of architectural design and event production has been a major development in our industry. This whole workflow means that architectural designs are actually a piece of content before you’ve even begun the build. What excites me the most is that Experience Studios are encompassing this fusion of technology and creativity – and that feels as though it wasn’t as feasible just five years ago. Now, the team I work with is already well-versed in creating immersive spaces, and utilising plugins to integrate video and audio seamlessly. This technological progress allows us to provide experiences and tell stories in ways we previously could only aspire to. We now have the tools to show rather than just explain – and that’s truly exhilarating!

Embarking on this new venture with Experience Studios allows us to start afresh. We have built a team of 14 talented individuals over the past year; however, it’s not just about adding bodies; it’s about finding individuals who understand our vision, share our perspective, and possess the skills to make the connection.

Experience Studios design and deliver the AV systems, but it’s clear it goes beyond that in terms of the creative side –is that a big passion for the team?

When it comes to creativity, it’s not just about what happens afterwards; it’s also about the creative process itself, which is quite fascinating. There are a couple of key points I’d like to highlight. First, both myself and the individuals in our team have a background in either technical or artistic fields. This allows us to connect with people who have first-hand experience as performers, artists, or similar. Their mindset and understanding of the end product, along with the goals of entertaining and informing people, greatly influence our design process. Drawing from their experience and knowledge enables us to approach design from a unique perspective, having stood on stage or run a show in a venue ourselves. For me, it’s crucial to collaborate with people who truly understand this industry. Many members of our team are still actively involved in various areas of the entertainment industry, and we fully support that. We really value their passion because it brings a wealth of experience to the projects we undertake. Whether they pursue their passion alongside their work with us or integrate it into their roles within the company, we encourage and embrace it. We don’t believe in limiting their involvement; instead, we see it as an integral part of our job. We remain connected to the industry, whether it’s theatre, music, or other entertainment. Our team members are actively working on shows while also contributing to the design process. It’s really vital. Another important aspect is understanding not only the systems and hardware in the design, but also the overall strategy. We aim to create a design that becomes a living,

breathing part of the venue, connecting with the planners, promoters, artists, and everyone involved. It’s about considering the content, operations, and how everything comes together. We offer a comprehensive approach that extends beyond the completion of construction projects, renovations, or refurbishments, and becomes an integral part of the venue’s ongoing life. It’s an exciting prospect for us to find people who truly grasp this concept. Not everyone understands the unique dynamics of our industry, so discovering like-minded people has been great. We’ve had the pleasure of meeting new friends and colleagues who share our vision and are excited to work together.

Close-up of an ice sculpture from Erland Cooper’s “Folded Landscape”

How has the collaboration with Populous been over the past year?

Populous specialises in sports and entertainment venues, so it’s been hugely advantageous. Their focused expertise allows us to collaborate with architects who share the same goal of creating exceptional experiences for people coming together. The beauty of this collaboration lies in the ability of the 3D tools and technologies we discussed earlier to communicate with each other in three-dimensional space, enhancing the design process. The impact of video on stadium design is a great example of how the expectation for screen placement, immersive experiences and added value elements continues to evolve.

Populous projects like the Tottenham Hotspur Stadium exemplify the constant push for better experiences and higher benchmarks. Being involved in these projects from day one allows us to work with a team that is already considering how to create the desired experience and how technology can be inherently integrated into the design. It’s not about simply adding technology as an afterthought, but rather making it an integral part of the design process and considering how the venue will be experienced and function. Overall, the ability to collaborate with architects who share our vision, incorporate technology into the design process, and focus on creating exceptional experiences is of great value. It’s a rewarding experience to be part of a team that strives to elevate the user experience in venues and understands the importance of thoughtful design.

What has it been like using your expertise to influence venues in those early stages?

One thing that’s clear for every venue, whether it’s one around the corner from your house or a large stadium, is that the expectation for the customer or fan experience has gone up and up. This increased expectation is a positive development because it pushes venues to provide more value and take the fan experience seriously. In the stadium and arena project scenario, there is now a broader understanding of the world of engaging experiences and digital overlays. Venues are recognising the importance of meeting people’s expectations and incorporating the latest technologies into their designs.

What we find particularly interesting is that not all these experiences need to be integrated into the architecture itself or require major construction projects. However, they should be considered and planned for because they inform how people perceive the space and the infrastructure needed to support these experiences. It’s possible to approach it on multiple levels, such as designing a space to achieve a specific goal, inputting infrastructure to enable connectivity, and then connecting the actual elements together. These steps can be taken gradually or in stages, providing flexibility in the design process.

How do you see AV in stadiums and arenas right now – and where do you see it developing?

Well, I believe one thing that’s certain is that experiences, not just in stadia and arenas, but across various sectors like retail, hospitality, leisure, and tourism, are becoming more personalised. This trend of personalisation extends to the interaction between in-stadium systems and the devices people carry. It’s about ensuring continuity of content and access across these systems, while incorporating intelligence. However, implementing such technology in a stadium environment poses unique challenges.

Unlike an art gallery, where locating and responding to individuals is easier, stadiums have thousands of people moving through concourses simultaneously. So, while

personalisation and location-based services are promising, it’s crucial to understand the specific topology of a stadium and how people interact with it during events. Those who work in stadiums comprehend the complexities of facilitating audience engagement and enjoyment of content, be it in sports or entertainment. This knowledge becomes increasingly valuable when considering the costs associated with stadia or major sporting events. The goal is to extend the length of time people spend at the venue, both before and after events, and to deliver content that resonates on a large scale.

Another aspect that I find fascinating is the continuous pursuit of quality improvement in video and audio. The expectations for content quality continue to rise, and technology now allows for exceptional image quality on video screens. However, it’s essential to ensure that the infrastructure, such as cabling, can support such advancements. Likewise, audio design for large spaces has seen significant advancements in recent years, enabling a higher level of quality in sound reproduction.

Despite this, not all stadiums have implemented such highquality systems yet. Often, you find that existing venues are working through a lifecycle process, replacing outdated equipment and aligning with current standards. When upgrading systems, it’s crucial to prioritise the parameters that truly matter to the user experience.

One key challenge I’ve observed is that some stadiums may possess top-of-the-line hardware and systems, but lack the internal expertise, knowledge, or operational budget to run them effectively. It’s not just about investing in technology; it’s also about investing in skilled operators, ongoing content creation, and cohesive management strategies. Bridging this gap between technology and operational capabilities can significantly enhance the fan experience without unnecessary hardware expenditures. Finding the right balance is critical.

“One thing that’s clear for every venue, whether it’s one around the corner from your house or a large stadium, is that the expectation for the customer or fan experience has gone up and up. This increased expectation is a positive development because it pushes venues to provide more value and take the fan experience seriously.”

Mark Murphy

Another interesting aspect to consider is the shortage of skilled personnel to operate these advanced systems. It’s essential to explore ways to engage with those entering the industry, whether through formal education or apprenticeship programmes. Understanding how to provide opportunities for newcomers to gain experience, learn, and grow in this field is a challenge worth addressing. It’s not merely a matter of increasing the number of professionals; it’s about finding the right individuals with the necessary skills and passion for running and managing these systems effectively.

Which projects are you currently working on?

Currently, we’re engaged in multiple stadium and arena projects worldwide with Populous, such as the MUCcc Arena, which will be a new multi-use, climate-neutral, 20,000 capacity event venue in Munich. That’s a really exciting project for us.

We are involved in various new build stadium projects globally, although I can’t go into too much detail just yet! These projects range from refurbishments to the development of new venues, each presenting unique challenges and opportunities. One noteworthy project, which I cannot reveal too much about again, involves the creation of a venue specifically tailored for esports. This combines our architectural expertise with the installation of a permanent production system capable of hosting esports events at an arena scale. It is projects like these that merge our interests and skills perfectly.

Additionally, we are working on various creative arts and performance projects. While some of these projects are on a smaller scale, they serve as a way for us to tap into our expertise and apply it to larger ventures.

For instance, we created an animation to promote the

upcoming Co-op Live Arena, a highly-anticipated project in Manchester, UK that aims to provide an exceptional experience to everyone who attends shows there. The video we created effectively highlights the venue’s design elements and showcases why Co-op Live will offer an unparalleled live music experience. We are excited to release this video in the next couple of months to support the ongoing preparations for the venue opening. One aspect that sets us apart is our ability to translate technical elements and economic know-how into a narrative format that appeals to a wide audience. We aim to create content that not only informs, but also excites and inspires people to attend shows in our venues. Our sweet spot lies in understanding how venues work and its design - and incorporating that knowledge into captivating narratives. This approach has been particularly successful in our recent projects.

In addition to these ventures, we have recently secured a refurbishment project in the UK that highlights the diversity of our work, which spans from immediate projects to longterm endeavours. Some of our work in the UK and Europe involves refurbishments or developing single-stand venues, alongside major projects. We also delve into entirely new build projects, providing us with a nice range of challenges.

Away from the stadiums and arenas, what projects have you been working on and how do they enhance what Experience Studios can deliver?

We take pride in working on a broad spectrum of projects, from the artistic side to assisting with system preparation for shows. This wide range of experiences allows us to bring valuable knowledge to our stadium projects. The crosspollination of ideas and expertise fuels our passion for what we do.

Co-op Live, Manchester

Another aspect worth mentioning is our collaboration with artists. For example, one of my colleagues worked on the Erland Cooper shows at the Barbican, which revolved around the topic of climate change. In this project, we employed various digital tools, from concept illustrations to animations, to create an immersive experience. The show itself had a live performance with the conductor replaced by a plinth of ice that houses a living plant, which gradually reveals itself as the ice melts during the performance. While digital tools played a crucial role in the research and development phase, the show’s essence was far from digitalcentric. It effectively merged the visual and auditory elements to deliver a captivating experience.

Also, our team comprises experts in 3D visualisation, such as Chris Lane, who recently created a virtual Zen Garden displayed at The Mailbox in Birmingham. This project involved collaborating with an artist and a beauty brand to build a world using Unreal Engine. The installation offers visitors an immersive experience. Furthermore, selected stills from the animation are available for purchase as framed art pieces. While not all our visualisations reach the level of a fine art piece, we aim to bring the right level of skill and

engagement to each project. The ability to present a venue or concept in 3D, especially when clients have no previous concept, often garners a strong positive response and enhances their understanding and excitement for what we’re aiming to achieve.

Ultimately, we find immense satisfaction in these projects because we genuinely enjoy the work. However, we also recognise the growing demand in the market for engaging content. Whether it pertains to existing or future venues, the ability to present captivating visual and immersive content plays a significant role in driving our work. We are curious to see the extent to which content production, including visual and spatial audio elements, will shape our business in the future. Presently, it is already a significant component, and we anticipate its continued growth. The interest generated by our work in this area has been substantial and reinforces our commitment to exploring new possibilities.

A monolithic ice sculpture takes the place of the conductor in a performance of “Folded Landscapes” at the Barbican

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POPULOUS

Redefining Architectural Design for Stadiums and Arenas

Images: Edward Hill & Fulham FC / Rex Shutterstock

Populous, a global architecture and design practice, specialises in the design and delivery of stadiums, arenas, performance venues, and major live events. The company has a track record of over 3,000 projects worldwide, including iconic venues such as the Tottenham Hotspur Stadium, Yankee Stadium, event overlay for every Super Bowl since 1985, and the Stadium Australia, built for the Sydney 2000 Olympics.

A Comprehensive Design Approach

Populous takes a holistic design approach, offering a range of services and sub-brands to provide an end-to-end experience for clients. “Our practice is designed to provide a depth of expertise and services within the defined space of sports, entertainment, public assembly, and major events,” explains Christopher Lee, Populous’ Managing Director for the EMEA region. “We’re not a general architecture practice with a sports department.”

With over 800 dedicated experts working across 25 studios worldwide, Populous covers various disciplines, including architecture, interior design, urban design, master planning, landscape architecture, brand activation, and wayfinding. To complement its core design services and expand its portfolio of client services, Populous incorporates a number of partner companies: Populous Consulting, led by Diarmuid Crowley, provides a comprehensive, design-led business planning service, focusing on revenue-generating opportunities for clients. Experience Studios, led by Mark Murphy and Kevin Luckhurst, specialises in experiential engineering services, including acoustic design, audio-visual

design, and broadcast services. Jump Studios, an awardwinning interior design practice, brings expertise in creating remarkable interior spaces for sports, entertainment, bars, restaurants, and hospitality.

Showcasing Innovation

Populous is currently involved in numerous iconic and exciting projects worldwide. In the UK, the company has created the new Riverside Stand at Craven Cottage for Fulham FC, with a ground-breaking design that subverts the traditional conventions of stadium hospitality. The stand offers a unique experience overlooking the River Thames, and features a range of facilities that create a unique user experience and maximise revenue all year-round. These include shops, restaurants, bars, conference and event spaces, a boutique hotel, and a health club with a rooftop pool. Another notable project nearing completion is the Co-op Live Arena in Manchester. Designed to provide the best live music experience, the venue features a tight seating bowl with steeply raked tiers and a large standing floor area, creating an intimate nightclub-like atmosphere. The space’s geometry has been carefully shaped and treated to control sound reflections and optimise acoustics, resulting in an exceptional listening environment. With a capacity of 23,500, Co-op Live will be the largest arena in the UK when it opens. Lee adds: “As well as these incredible UK venues, we have a global portfolio of extremely exciting projects we are currently working on, from the new Buffalo Bills NFL stadium in the US to the Kai Tak Stadium and Sports park in Hong Kong. This enables us to draw on resource and

Tottenham Hotspur Stadium, London, UK

expertise from across the world to service our clients’ needs.”

Sustainability as a Fundamental Component

“Given the scale and visibility of many of our projects, our commitment at Populous to environmentally sustainable design is crucial and non-negotiable. There’s not a single project currently on our books for which sustainability isn’t a fundamental component of the brief, reflecting the attitudes and expectation of our clients, the industry and society at large,” explains Lee. Populous recently worked on Climate Pledge Arena in Seattle, which is the first net zero-certified arena in the world, as well as being involved in the creation of Co-op Live, Europe’s most sustainable arena.

Designing for Gender Equity

With the ongoing rise of women’s sport, there is an increasing focus on gender-equitable stadium design. Populous leverages its experience from the US and Australia, where they have worked on a wide range of collegiate and professional women’s sports projects. The challenge for stadium and arena designers lies in creating spaces that cater to a new audience.

“Equitable facilities need to be about more than hitting minimums – we need to think of intentional family and female-first design,” says Lee.

The Role of Digital Integration

In today’s technology-driven world, digital integration is key to stadium and arena design. Populous recognises the opportunity to enhance the live experience for fans and spectators by integrating digital content seamlessly. Instant

replays, player heart rates, and match statistics are just a few examples of the digital elements that can be incorporated to augment the live experience. There is an excitement about the possibilities of augmented reality, too, and how wearable technology has evolved to a point where it can be seamlessly integrated into the live experience, blurring the lines between physical and digital interactions.

The Future of Stadium and Arena Design

Looking ahead, Populous recognise that sustainability and digital integration are key areas for development and innovation in stadium and arena design, as well as the continued evolution of multi-use venues. Single-use venues are becoming less viable due to environmental, financial, and experiential reasons.

“I think we will see an increasing number of facilities integrating retractable pitches and roofs into their stadiums, like we have at the Tottenham Hotspur Stadium, and looking for new and clever ways to utilise existing space to host a broader range of events,” Lee explains. “Arenas will continue to evolve to become more complete destinations with bars and restaurants within the building itself that draw people to the venue earlier and provide somewhere for them to gather after events. It’s an incredibly exciting time for the industry.”

The new Riverside Stand for Fulham FC, London, UK

MOODY CENTER

Austin, USA

Images: Henderson Engineers, Daktronics

HENDERSON ENGINEERS

As part of an innovative P3 (public-private partnership), Oak View Group and the University of Texas at Austin (UT) set out to build a world-class arena to bring the best performances to the city, widely regarded as the “Live Music Capital of the World.” Now Moody Center, the multi-purpose venue hosts men’s and women’s basketball games for UT’s Texas Longhorns, attracts top concert talent and hosts a variety of other events throughout the year. The new venue and tailgating plaza sit across the street from the historic Darrell K. Royal Texas Memorial Stadium, creating an unrivaled gameday experience for Longhorns fans. Henderson Engineers, a national firm with a Texas office presence in Dallas and Houston, was brought on to provide building systems design for the 15,000-seat arena including electrical, fire and life safety, mechanical, and plumbing. Sister company Henderson Building Solutions, a construction management and commissioning firm, was simultaneously enlisted for commissioning services, which involved assessing building systems for functionality and durability. Using experience gained on a recent professional arena project, Henderson Engineers designed a lower bowl mechanical system that supplies air conditioning from below the seats, also known as positive displacement ventilation (PDV). The system, which provides cooling from the bottom up instead of the top down via overhead ducts, is the first of its kind in a collegiate arena in the United States. It provides increased air quality and ventilation effectiveness, allows for greater economizer operation, and reduces bowl pre-cooling times, allowing for reduced system ventilation and run time demands. Energy modeling estimates approximately 15% in project energy savings from the PDV system when compared to traditional overhead systems. The arena design also includes an operable closure system that mechanically lowers to close off a portion or the entirety of the upper bowl for a more intimate setting and widely varying seating capacities, a

dynamic use supported by the lower bowl PDV. One of the challenges unique to this project was connecting Moody Center to the UT campus central utility plant operation. The sequence was unique and, at first, did not work as intended due to campus restrictions. Henderson Engineers and Henderson Building Solutions closely collaborated with campus personnel on the best way to overcome the hurdle, which included project specific system controls sequencing to accommodate both the Moody Center and UT campus plant demands. Careful consideration went into making sure the solution worked for all parties involved. The joint effort between the affiliated companies and their familiarity with each other’s approach was a major benefit to all stakeholders on the project. Due to the existing relationship, responses were quicker when needing to get answers when questions presented themselves. In lieu of submitting an RFI and waiting for a response, the teams collaborated to gain clarity and identify the best solution to a problem. Working together also benefitted the general contractor by reducing the number of punch list items and enabling quicker completion times for tasks. The entire Moody Center build was a five-year process. At the start, the Henderson Engineers team worked on a concept design prior to a defined delivery method in early 2017. The request for proposal (RFP) and design team selection occurred in late 2018 with onboarding in January 2019. The Henderson Building Solutions commissioning team was included in the RFP response and onboarded in 2019 to perform document review and was involved through the closeout of the project, bridging the gap between design and construction. While the two Henderson teams are different companies, their cultural alignment and combination of diverse skillsets was key in helping realize the ambitious vision set forth for the development.

DAKTRONICS

Daktronics partnered with the Oak View Group to manufacture and install nine LED displays at Moody Center. A new centerhung video display system, ribbon display and marquee display were installed at the end of 2021 and are currently informing and entertaining audiences.

Each of the four main centerhung LED video displays measure approximately 20.5 feet high by 27 feet wide and feature 5.9-millimeter pixel spacing to bring crisp, clear images to audiences throughout the arena. Each display is capable of variable content zoning allowing each to show one large image or multiple zones of video, replay and graphic content that fans crave. They can also show statistics and sponsorship messages throughout events.

Below the main video displays is a ring display measuring

approximately 3 feet high by 109 feet wide. This display will also feature 5.9-millimeter pixel spacing. On the underbelly of the centerhung, two video displays feature 2.5-millimeter pixel spacing and each measure 5 feet high by 15 feet wide to share supplemental information to the main displays and bring a better view to guests sitting closer to the action Adding to the centerhung, a long LED ribbon display has been mounted to the seating fascia of the arena. This display measures approximately 3.5 feet high by 715 feet wide and features 10-millimeter pixel spacing to bring opportunities to share additional statistics and sponsorship messages throughout events.

“The Daktronics’ LED system provides a great experience for those attending concerts and sporting events. The wide variety

of events hosted at Moody Center will allow Daktronics to showcase our flexibility in this multi-use venue,” said Will Ellerbruch, Daktronics’ National Sales Manager for Live Events.

“It’s been great to partner with Oak View Group and everyone involved on this project, and we are honoured to be a part of this first-class facility that has been highly anticipated in Austin.”

Outside Moody Center, two marquee displays have been installed to welcome fans and inform them of upcoming events. One display wraps around the corner of the facility and will measure 26 feet high by 32.5 feet wide. The other display measures 15 feet high by 26 feet wide. Both marquee displays feature a tight 5.9-millimeter pixel spacing with high resolution and crisp imagery to engage audiences as they arrive for live events.

Daktronics has also provided its powerful Show Control solution with this installation. This industry-leading system provides a combination of display control software, world-class video processing, data integration and playback hardware that forms a user-friendly production solution.

JBL | DIVERSIFIED

The Moody Center has been designed and built to be a premium event venue for University Of Texas’ sports and athletics, as well as concerts and a whole host of other events.

Diversified were brought in as the system integrators for the AV systems in the building, including the audiovisual setup within the main bowl, the back of house AV, TVs and IPTV, broadcast cabling, and the broadcast video control room. The Moody Center project was built during the Covid pandemic, with extremely challenging conditions and tight deadlines, though it was still able to open and welcome visitors on schedule, which is a huge credit to the whole team that worked on the project.

Erik Carlson, Senior Project Manager – Sports & Live Events at Diversified, spoke to MONDO | STADIA about the spectacular arena and its equally impressive AV system: “The Moody Center is truly an extremely versatile venue that maximises the fan experience for all events it hosts.

“The main seating bowl is supported by six main arrays - two with 16 VTX A8 loudspeakers and three VTX S28 subwoofers; two with 16 VTX A8 loudspeakers; and two floor fill arrays, each with five VTX A8 loudspeakers and three VTX S28 subwoofers. Each array is driven by Crown amplifiers.

“The bowl delivers a fantastic sound for University games, as well as in-house performances and events.”

The back of house spaces including clubs, bars, concourses, concessions, boardrooms, talent / green rooms, exterior patios, and restrooms - all of which are supported with JBL loudspeakers and 285 Samsung televisions to keep every fan engaged in the live sport, concert or event, no matter where they are in the building.

The buildings broadcasting capabilities include a full broadcast control room for video / audio broadcasting in and out of the building, including a broadcast cabling infrastructure to provide video broadcasting capabilities throughout the venue.

VITEC

The Moody Center design included an extensive number of displays around the facility to provide digital signage in concession areas, plus access to TV content for VIP suites and premium concourse areas. The Technical Team needed an IPTV & Digital Signage platform that would give them the ability to use content on the displays around the venue to engage audiences, as well as deliver the capability of scaling to support future expansion. They selected VITEC’s IPTV & Digital Signage solution because it exceeded the requirements for the initial design, plus, the VITEC system was also being used in the new University of Texas Football Operations, colocated on campus, so it was proven to be a reliable platform. “One of the primary reasons we selected VITEC is the fact that the IPTV platform is very flexible and allows us to easily adjust content throughout the Moody Center for any type of event,” said Heath Adams, Director of Technology for the Moody Center. “We host all types of events from major concerts, comedy shows, Men’s and Women’s UT Basketball games, and various other sporting events. Moody Center has it all and the VITEC system allows us to customise the video and signage content for every event.”

VITEC deployed an EZ TV Pro server to support the initial installation of 270+ EP5 end-points to displays around the Moody Center. The centrally-managed server provides TV and signage content throughout the entire facility – including IPTV in the luxury suites; dynamic video signage for bar and concession locations; and video playlists for sponsor and upcoming events signage throughout concourses. Additionally, the VITEC system can integrate with their Oracle Micros point of sale systems, which control menu boards in the facility. That integration allows for easy management and changes to menu boards based on F&B availability or event profiles.

“The VITEC team has been with us throughout the process from design, deployment, to support since the Moody Center launch,” added Heath. “We had some hurdles along the way, as you always expect, but VITEC has been a partner that works to find solutions and make sure our audiences and sponsors are always getting the best experience from every display in the venue.”

Learn more about VITEC’s 2023 GreenPEG committment to sustainability at greenpeg.vitec.com

BUTLER ESPORTS PARK

Indianapolis, USA

Images: NewTek

POPULOUS

Butler Esports Park, a state-of-the-art esports and innovation space, at Butler University in Indianapolis, Indiana, opened at the beginning of the 2022-23 academic year. The approximately 7,500-square-foot centre serves as home for Butler’s varsity and club-level esports teams, as well as a communal gathering spot for students and the local community.

Populous, a world leader in esports design, designed the space for maximum flexibility, with its primary function as the home for Butler’s leading esports program, team training and broadcast production. In addition, it can be easily configured to host a wide spectrum of academic programming, special events, lectures and student gatherings.

“There was a lot of attention to detail in the design in order to gain maximum operational functionality

of the space,” said Eric Kammeyer, Butler University’s Director of Esports and Gaming Technology. “Through our partnership with Populous, we have created an innovative and versatile space that will serve our esports teams as well as students and the community, creating more opportunities for them to excel.”

Populous is a global leader at the forefront of the fastgrowing esports and gaming industry. It has created esports venues such as Esports Stadium Arlington, Nerd Street Gamers’ “The Block”, G4tv’s Headquarters in Los Angeles, and the NBA 2K League’s Season 5 Competition and Broadcast Arena in Indianapolis.

“The Butler Esports Park will serve as a swiss-army knife for the university and the esports program,” said Populous Senior Principal and Esports Director, Brian Mirakian. “Its ability to specifically support highperformance skill development for collegiate esports

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and gaming, combined with robust content creation and broadcast production capabilities, and its infinite uses for events, academic purposes and community engagement, make it a valuable resource.”

The But ler Esports Park was designed to provide students and the local community access to the highest level of resources, technology and amenities. Upon entry, visitors are greeted by retail and informational displays, immersing them in the Butler Esports brand and providing content that showcases daily and upcoming events at the Park. The space opens into a coworking and lounge area with a mix of social seating, collaborative technology and gaming areas. It also features a café to serve students and the community on a daily basis and is a valuable amenity for special event usage.

The gaming arena floor provides a dynamic competitor and spectator environment, accommodating up to 60 gaming stations for everyday student use, varsity team training and premier collegiate competitions. The

gaming stations feature an innovative ‘transformer’ design that can easily configure for various modes, and are situated in front of a stage that allows for multiple competition types, academic uses and industry events. A high-end broadcast and production space supports gaming and content creation, but also is a critical resource for academic development and experiential learning. The Esports Park prominently situates leasable tenant space for leading esports industry organisations Beastcoast and Challonge, houses university office space, and flexible conference space for academic teaching and seminars. Positioned on the northeast side of campus, a new outdoor area serves to extend the social and event functions of the space, and connects the new structure to the rest of the campus.

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.

Butler University is transforming into an epicenter for Esports - the state-of-the art facility connects members of the Esports community and broadcasts games using NewTek’s iconic TriCaster®, 3Play® and PTZ products.

Originally established as a student-led initiative in 2017, Butler University has helped foster its students’ passion for Esports and gaming into an opportunity for players to grow academically, competitively, and professionally. It has since transformed into a flagship location for the sport and one of the most competitive programs in the country with Butler’s varsity Esports teams competing in the BIG EAST Conference, in both Rocket League and League of Legends.

With the facility hosting live events and streams, it was necessary to have strong broadcasting production capabilities. Butler University chose the NewTek TriCaster® TC1 video production platform and NewTek 3Play® 3P1 sports video production solution, and three NewTek NDI®|HX PTZ2 cameras, which enabled the studio to extend its live production capabilities with

ease.

“Our facility required adaptable livestream technology which was easy to understand and use. This was especially important given our efforts to host various livestream competitions while also providing students with hands-on production experience and learning opportunities,” said John Lacheta, Butler University’s Manager of Facilities and Operations. “The versatility of the NewTek production products was extremely attractive for this reason.”

Striving for the highest-quality production possible, the production team used the TriCaster® to connect and switch between the multiple cameras being used to film its competitions.

Additionally, all TriCasters are IP-enabled using the NDI® standard, which allows users to connect devices such as cameras, microphones, intercoms, and lighting through Ethernet cabling and provides two-way communication. The TriCaster® allowed the production team to easily connect and manage camera switching while improving the studio production efficiency.

HOSPITALITYTECHNOLOGY

“The flexibility of this system allows us to support a plethora of events of different shapes and sizes. The agility of the NDI® standard plays a massive role in how we can shift from classroom to open play and live event modes quickly and with intent,” Nathan Duke, Manager of Esports Programs and Facility Operations, Butler Esports, said.

“Given that we host so many high-profile Esports events, it was necessary for us to have the technology that could easily ingest a magnitude of virtual signals and tie them all into a network quality product for our fans and players. TriCaster® with NDI® did just that, all while not requiring an intense production setup.” In addition to TriCaster®, Butler University used NewTek’s 3Play® sports replay production system to enhance the event atmosphere. Instant replays using 3Play® allows broadcasters to make smaller events more engaging and provide the appearance of networkstyle shows. The team was able to provide viewers with slow motion replays of the action and use the clips to easily create highlight reels at the end of the event, all at a fraction of the cost of traditional replay systems.

Jeremy Morris, Senior Sales Engineer for NewTek AMECS, and a Butler alumnus, provided the demo to the university and assisted the construction team on the initial design of the space.

“It was a pleasure to be able to remotely demo our product portfolio to the Butler staff back in the initial planning phase of the project,” Jeremy said. “It allowed me to show not only the capabilities of the products, but how they integrate with other components required in the space to provide a seamless NDI® & Dante workflow and transition between use cases. I was able to then work with the design engineers to make sure the system flow met the needs of the client as well as the budget. Esports is an exploding market in video production and technology advancement and I’m excited to see where this new Esports facility can take us.”

NewTek products are already in use at the College of Communications at Butler, and with the addition of the Esports minor, the CCOM students now have the same equipment in each location. The Esports minor was launched in Fall 2021 within the College of Communication to build in-demand skills needed for success in the booming world of competitive gaming. In March 2023, Butler hosted the first BIG EAST Esports championships at the Esports Park on the campus of Butler University. This selection represented another opportunity to showcase the University’s facility and to highlight the live production capabilities powered by NewTek.

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30 VENUE FOCUS

AUDIO

042 Coopers Stadium | Adelaide, Australia

VIDEO

048 Tropicana Field | St. Petersburg, USA

052 WrestleMania @ SoFi Stadium | Inglewood, USA

EPOS & HOSPITALITY

056 Gtech Community Stadium | Brentford, England

COMMUNICATIONS

062 Race of Champions | Piteå, Sweden

COOPERS STADIUM

Adelaide, Australia

The world-class, multi-use Coopers Stadium in the South Australian city of Adelaide has installed a brand-new d&b audiotechnik A-Series system to enable clear speech and full spectrum sound as it hosts games in the 2023 Women’s FIFA World Cup.

The sound system upgrade was part of a wider AV enhancement initiative, which saw new LED screens and lighting in addition to improvements to its grandstands. Adelaide-based audiovisual production and installation company AJS was tasked with designing an audio solution that would deliver sonic quality, clarity and volume, and be suitable for rigging within the existing stadium structure. The team required flexibility in both physical setup and acoustic control, with directivity and system unity key to success.

AJS Managing Director, Andrew Gayler, and his team landed on the d&b A-Series, which combines the ease of point source clusters with the level and frequency distribution of line arrays, and flexible acoustic control in an augmented format. The d&b system was supplied by NAS Solutions, which also provided support on the project.

“With a modest 25m throw but an almost 90-degree coverage

required, a line array would have required too many elements and thus impacted on-site lines and cost,” said Andrew. “A point source would have been unable to give us the ability to control the levels at the balcony area versus the lower floor so the d&b A-Series Augmented Array was deemed the perfect solution given those constraints.”

Four pods housing four A-Series loudspeakers each are now installed at the stadium’s West Stand, driven by d&b 30D amplifiers. Over in the East Stand, six pods are rigged containing three A-Series d&b cabinets. The A-Series system was designed using the d&b ArrayProcessing software, with assistance from Doug Pringle at NAS Solutions and the d&b team in Germany.

“Using d&b ArrayCalc software we were quickly able to calculate the number of cabinets required to obtain the vertical coverage as well as the number of pods for the stadium width,” Andrew continued.

“We then leveraged d&b expertise and took on board their recommendations to finalise the equipment schedule. The rigging proved challenging as there had never been a flown audio system installed nor any consideration for having one at the time of the original structure build. We were fortunate

that our project lead at AJS, Tim Bekker, was able to design a bespoke assembly to suit the structure constraints and that a local company was able to manufacture in a matter of days.

“The d&b ArrayProcessing software makes a noticeable improvement, especially in upper frequencies. Specifically, it enables a more linear front/rear SPL within the stadium. This is d&b’s ‘democracy for listeners’ at play. We use ArrayProcessing extensively on our live events and knew how important it is to deploy.”

In the North and South Stands, the team opted for d&b V7P point source loudspeakers, rigged high above the grandstand on 6.5-metre masts that are connected to the back wall. These are powered by d&b 40D amplifiers. And in the revamped Corporate Boxes on the West Stand, attendees hear announcements, gameplay and music via 14 d&b 8S point source loudspeakers.

“The most impressive feature of the A-Series is how effective it is keeping audio off the pitch and how intelligible the audio is within the stadium, which was a key requirement,” says Gayler. “The system easily exceeds the required SPL, and coverage is the reason for multiple cabinets and not output. Our client had immediate feedback from regular patrons about how ‘crisp’ the sound was. We are also particularly pleased with how the system looks as most seemed unaware of where the audio was coming from given how compact the

pods and V7P cabinets are.”

Andrew recognised that the d&b ArrayCalc software is critical to all d&b system deployments, as it determines cabinet location and inter cabinet angles. He could then feed this information into the d&b R1 Remote control software, that enables d&b devices to be remotely controlled using both Ethernet and CAN-Bus, which in turn configures all of the d&b amplifiers with a vast array of configuration settings including the ArrayProcessing settings.

“This meant all of the parameters are stored within the amplifiers, and we use Q-Sys to handle routing to those amplifiers,” explained Andrew.

“Even though we have deployed a vast number of d&b systems, we often still reach out to NAS in Australia for expertise as they in turn have worked on a plethora of these types of deployments. Ultimately, we are happy to draw on the expertise of d&b either locally or in Germany as they have consistently guided us to achieve some fantastic outcomes. We explain to our clients that we have this amazing support behind us which we hope assists in building confidence to use our local services.”

Games are already being played in the stadium using the d&b A-Series system. The 2023 Women’s FIFA World Cup matches kick off in July, with Coopers Stadium hosting five high-level games. MANUFACTURER:

d&b audiotechnik

More than a match.

A great lineup of sound reinforcement technology. A customized look. The renown d&b Workfl ow. 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.)

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The art of creative engineering.

Puskás Aréna, Budapest, Hungary

TROPICANA FIELD

St. Petersburg, USA

Images: digiLED

Tropicana Field, located in St. Petersburg, Florida has been home to Major League Baseball team Tampa Bay Rays for 25 years. Recently, the stadium had a dramatic upgrade with more than 4,800 square feet of brand-new high brightness LED displays, supplied by the LED screen experts digiLED.

The main stadium is now dominated by three new giant 10mm VISION A LED screens, perfect for giving the 42,735 capacity crowd a close-up of the action. A further three screens are located in prominent positions throughout the venue using both digiLED’s 10mm VISION A and 1.3mm digiTHIN HD.

When it was decided that the LED displays located in the stadium were due for an upgrade, local media company Vū VR Studios recommended digiLED for their outstanding reputation in the industry. digiLED were not only able to upgrade the old screens with higher quality products but were also able to retrofit the new screens into the space where the old ones were located, using some of the original fixtures. “We were invited to partner with Vū Technologies, supplying the LED video screens as they had the connection to the Rays,” explained Joe Lapchick, Director Business Development, digiLED. “They had to get new screens because they ran out of spare parts and couldn’t get support from their previous supplier.”

The new displays were recently unveiled at the seasonopening game on March 30th, when the Rays took on the Detroit Tigers. It was an exhilarating night, as the team won their first of 13 consecutive games – something that hadn’t been seen since 1884.

Even though the screens are fully contained within the stadium, it was agreed that the best choice was digiLED’s VISION A for the main displays due to the high brightness and IP65 rating that it offers. This was important because of the high levels of humidity in the stadium when no games are being played.

digiLED managed to hit the requirements precisely using their digiTHIN HD product. This enabled the venue to still show multiple images on one screen, whilst also being able to display a single larger image.

Joe added: “Even though the ballpark is covered, there’s still humidity inside, so we used our VISION A outdoor install panels. The real technological advancement was in the control room - we used UHD 1.3mm digiTHIN HD LED screens to replace the LCD screen array of monitors.”

From start to finish digiLED worked closely with the team at Tampa Bay Rays to ensure their vision was brought to life and to create a captivating experience that truly enhanced the fan experience.

“The new screens have almost double the resolution from the previous screens, so it allows for better content and colour accuracy for advertisers and the replay screen,” said Joe. “So far, everybody’s loved the new screens and how much the fan experience has grown since it’s been installed.

“We are thrilled to have partnered with The Rays on this project and we look forward to continuing to work with them in the future. We are confident that our LED displays will leave a lasting impression on their fans for years to come.”

“The Rays partnership with digiLED has made the process of upgrading the LED at the Tropicana Field effortless, their expertise in the LED industry is truly unmatched,” said Michael Weinman, Director, Tampa Bay Rays. “The stadium now features cutting-edge technology and stunning displays that will help create an engaging atmosphere for our fans.” MANUFACTURER:

Two of the smaller LED screens, located in the Rays control room, required unique resolutions of 3456x1296 and 1152x648 as they were replacing an array of LCD monitors, something that has captured the attention of visiting MLB teams already.

WRESTLEMANIA @ SOFI STADIUM

Inglewood, USA

Inglewood, California’s 70,000-capacity SoFi Stadium hosted the 39th annual WrestleMania with a blockbuster two-night event enveloped in LED screens and scenic video technology driven by an army of Green Hippo’s Hippotizer™ Boreal+ Media Servers. More than 161,000 fans witnessed WrestleMania over two sold out evenings, energized by high octane video content created by the WWE Media Graphics Department. The visuals were displayed on multiple entranceway LED Screens, custom Ring Post, Ring Skirt, and LED Barricade. All these screens were supplied by ScreenWorks, a division of NEP. Upstaging provided Saber LED batons – a double row LED effects product that borders truss and scenic elements. In addition, the SoFi Stadium In-house Infinity Screen and five levels of ribbon boards were also controlled by the Hippotizer Media Servers. The massive amount of content meant that the visuals team required a media management system and powerful interface. A total of 16 Boreal+, two Karst+ and a further two Karst Media Servers were supplied by Upstaging, with Tony Thompson serving as Project Manager.

“The biggest challenges were sheer output and machine count on this show,” said Tony. “Hippotizer’s ZooKeeper interface for management of the machines is paramount - from being able to remotely monitor all the machines and configure from a remote machine, and then from the content management side. The robust DMX Control side of the Hippo is also vital for WWE, enabling the programmer/operator to be flexible, and have reliable cueing.”

Images: © Troutfarm27

Christopher Keene, Hippotizer Programmer and Operator, commented: “The sheer amount of content we are ingesting and syncing at WrestleMania means we must always have something encoding, while playback cannot be interrupted. I’m always amazed that the Hippotizers never skip a beat while syncing and encoding.”

Christopher and the team loaded more than 500GB of content during the week of pre-programming for the event. “Hippotizer processing allowed us to utilise 16 layers for every surface,” he explained. “We use a lot of layers because we like the flexibility of not having foreground and background elements in the same file. We like to be able to place elements, and size and manipulate them ourselves instead of having the content creators have to re-render for every little adjustment. This wouldn’t be possible without Hippotizer’s solid performance and processing.”

The Hippotizer Boreal+ Media Servers fed multiple 4K outputs, with the Hippotizer Karst+ driving a single 4K split out to 3G feeds. The Karst Media Servers were used for ZooKeeper only, to allow for local encoding in the system. Hosts Snoop Dogg and WWE star The Miz hosted, as a total of 15 matches took place in the ring, live streamed to a worldwide audience at home in addition to the fans in attendance.

“Hippotizer’s VideoMapper is one of the important elements that we use,” added Tony. “To allow content to be created in a realistic and native layout, and then for the Hippotizers to

splice and place pixels in the proper locations that are needed for LED processors and to keep output count to a realistic amount. From the programming side – lots of use of inbuilt effects, extensive use of Alpha transparency and layering to allow for on the fly compositing for each element, without requiring custom content for every element.”

“Hippotizer software is very user-friendly and the hardware is roadworthy,” added Christopher. “The user-friendly nature of the ZooKeeper interface makes keeping the content flowing and organized as simple as it can be. The folder/sub folder system is also intuitive and clean.

“One of the main components of Hippotizer that we utilize often is VideoMapper. A show as big as WrestleMania takes days to load in, and we spend a lot of time in pre-viz. VideoMapper allows us to display composites so that we can effectively program before the screens are loaded in. This is imperative to getting the job done on time.”

To control the Hippotizers, the team used a grandMA3 console. “The connection between the two and the DMX component is vital, enabling us to have access to all of the Hippotizer features to manipulate the content and surfaces,” said Christopher.

Working with the team were Rob Smith as additional Hippotizer Programmer, Danny Efkarpidis as WWE Content Design Lead, and Dan Longfellow and Clint Donaldson as WWE Onsite Content Designers.

GTECH COMMUNITY STADIUM

Brentford, England

Images: Kappture

Brentford Football Club, a renowned professional football team in the English Premier League, looked to enhance fan experience and optimise operational efficiency within their new stadium. To achieve these goals, Brentford partnered with Kappture to implement their hospitality technology system. This case study examines the successful utilisation of Kappture’s system at Brentford Football Club, highlighting the key benefits and outcomes achieved.

Upon moving to their new stadium, Brentford Football Club adopted Kappture’s system to to help improve the fan experience and streamline operations. The implementation included a total of 161 licenses, comprising 130 fixed terminals, seven mobile handheld payment devices, and 24 self-service kiosks

“We are thrilled with the benefits that Kappture has brought to our stadium over the past three seasons, particularly the ease of use in our back office operations and the implementation of self-service kiosks in the concourses,” said Mike Morris, Technology Director, Brentford FC.

“The Kappture system has significantly streamlined our processes, allowing us to focus on delivering an enhanced experience for our fans. The self-service kiosks have been a game-changer, providing our supporters with a seamless and convenient way to place orders and saving them valuable time during match days.

“Working with the Kappture team, we have consistently delivered market leading, agile solutions. We are pleased that

our partnership has had a positive impact on our operations and fan satisfaction.”

Brentford Football Club implemented PAX handheld devices in their hospitality areas, transforming their waiter service and elevating the overall fan experience. With the touch of a button, waiters can seamlessly take orders from customers, which are then instantly transmitted to the kitchen and bars for order fulfilment. This efficient process eliminates the need for waiters to waste time returning to the bar to submit orders manually, allowing them to focus on serving customers and providing a premium experience. By leveraging the PAX handheld devices, Brentford has empowered their waitstaff to deliver prompt and personalised service, ensuring that fans receive exceptional hospitality throughout their visit.

To consolidate all stadium data into a single comprehensive dashboard, Kappture seamlessly integrated with the Brentford FC stadium data lake. This integration enables real-time access to critical data, including sales figures and fan preferences. The consolidated dashboard provides managers and directors with quick access to key performance indicators (KPIs) related to match-day sales, empowering them to make data-driven decisions and optimize operational strategies. The installation of self-service kiosks in the concourses of the stadium has significantly streamlined the ordering process for fans. These kiosks allow fans to place orders at their convenience and choose collection points, eliminating the need for lengthy queues. Moreover, the kiosks facilitate

pre-orders for half-time, giving the catering teams visibility into upcoming orders and allowing them to prepare in advance. This dual functionality saves fans valuable time, reduces waiting times, and improves overall operational efficiency.

The Kappture system provides a comprehensive KPI dashboard tailored for managers and directors at Brentford Football Club. This dashboard offers real-time insights into match-day sales, enabling stakeholders to monitor performance, identify trends, and make informed decisions. The ability to access vital information at a glance enhances operational agility and supports strategic planning for future matches and events.

The implementation of Kappture’s system at Brentford Football Club has increased the fan experience and improved operational efficiency. The integration of self-service kiosks, and real-time data analytics has empowered fans with a wider menu selection, reduced waiting times, and increased overall satisfaction. Moreover, the quick KPI dashboard and BI integration has enabled managers and directors to gain valuable insights into match-day sales and make data-driven decisions to optimise operations. Brentford Football Club’s collaboration with Kappture exemplifies the successful utilisation of innovative technology to enhance fan engagement and drive operational excellence in the sports and entertainment industry.

RACE OF CHAMPIONS

Piteå, Sweden

Images: Riedel

Race Of Champions (ROC), a yearly international motorsport event featuring some of the world’s best racing and rally drivers, has now used Riedel’s solutions for over 12 years, beginning with radios and transitioning to intercom communications across departments. This year, ROC used Riedel’s MediorNet, Artist, and Bolero systems to run communications for its second snow and ice track, located in northern Sweden just 100km from the Artic Circle. For yet another year, Riedel’s solutions have helped ROC reduce infrastructure costs, communicate clearly and quickly across teams, and provide on-site technical assistance.

“Beyond the Race Of Champions, many of us work with other largescale sporting events, so we are familiar with Riedel’s products

and use them on more than one project,” said Dominic Oliff, Owner and Director of Operations at ROC. “Race Of Champions has its own unique set of challenges — it’s very dynamic, things change all the time, and communication is absolutely key to that. You don’t realize the importance of communication until you don’t have it. Fortunately, we’ve been able to bring Riedel’s experience and knowledge to this event, having the confidence that if something does go wrong, they’ll have it solved within just a few seconds.”

With Riedel’s 10 MediorNet frames, ROC can transmit all radio comms, video, audio, and other data over one fiberoptic cable, making the workflow far more cost-effective and flexible throughout the whole venue. Additionally, ROC’s Riedel Artist ecosystem includes 36 intercom panels and an integrated Bolero system with 24 beltpacks and five antennas to cover its whole organization. With six full duplex channels per beltpack, multiple users can speak over the intercom at the same time, helping team members to quickly and clearly update each other. The Riedel Managed Technology team also

MANUFACTURER: Riedel | WEBSITE: riedel.net

remained on-site during the event’s duration to offer setup and support.

ROC is the only competition in the world where stars from Formula One, World Rally Championship, IndyCar, NASCAR, Le Mans, Rally X, and more, compete against each other, going head-to-head in identical vehicles. It’s a knockout tournament where drivers must demonstrate their skills by competing in a diverse range of vehicles across a series of high-intensity elimination rounds. As a result, the live broadcast crew, track crew, drivers, and marshals all need to be prepared for quick changes and update the rest of the team.

“Race Of Champions has always been an incredible event, and Riedel remains eager to help them be their best over the course of our longstanding partnership,” said Marc Schneider, Executive Director Global Events at Riedel. “It’s been a fun ride, both literally and figuratively, and we’re happy that our solutions continue to help them work affordably, quickly, and confidently.”

LIVE VIDEO PRODUCTION

ALL-IN-ONE | REPLAY | CLOUD

SDI | IP | HYBRID VIDEO NETWORKS

ALL STANDARDS | WIRELESS | IP INTERCOM

STADIA

CONVENTION CENTERS EVENTS

THEATERS CRUISE SHIPS

BOSE

PowerShareX

PowerShareX adaptable amplifiers are an ideal match for Bose Professional sound systems. Onboard DSP gives you instant access to optimised loudspeaker presets. ControlSpace Designer software allows for quick configuration. And proven Powersoft technology ensures you put every watt to work.

Choose from three models: PSX1204D, PSX2404D, and PSX4804D. Each networkable, four-channel amp offers innovative power-sharing flexibility, peak power capability, Dante connectivity, and much more — all in a space- saving 1RU design. And easy integration with Bose Professional DSPs, loudspeakers, and the entire ControlSpace ecosystem makes design, configuration, installation, and operation much simpler — so you can get the job done and move on to the next.

Key Features

- Power-sharing technology dynamically allocates power evenly or asymmetrically across outputs without having to bridge channels or lose channel count when powering Bose Professional loudspeaker.

- Bose Professional certified presets and ControlSpace Designer integration delivers the best performance, loudspeaker protection, and visibility of the entire Bose Professional system from a single UI for easy design, configuration, control, and monitoring

- Proven Powersoft reliability ensures the systems operate every day, mitigating non-billable service calls

- Flexible outputs capable of handling either low-impedance (2, 4, 8Ω) or high-impedance (70, 100V) loudspeaker loads

- Built-in Dante audio supports up to four digital input channels from a Dante network eliminating the requirement of or- dering and installing an accessory network card

- Four analog inputs provide line-level source connections

- PowerShare Design Tool is a downloadable design tool that allows system designers the ability to choose their PowerShare amp and simulate the power-sharing capability that, in some cases, can lead to a lower-power model require- ment and cost savings

- GPIO connections provide a remote level, on/off, and alarm triggers

- Network monitoring provides real-time system performance data, minimising downtime, guesswork, and unnecessary service calls

- Rack-friendly 1RU design that is only 358 mm (14.1 in) deep eliminating the need for oversized racks

- Universal switch mode power supply with power factor correction

ABSEN

A99 LED Perimeter Display

Today’s major sporting events have become global spectacles viewed by millions, with fans of football, cricket, rugby etc travelling internationally to visit stadia all over the world and experience these events. When it comes to display solutions and with fans focussed on the experience, the in-stadium kit and suitability of the LED chosen is paramount. The fast-paced on-field action must be matched by high-quality performance screens capable of rapid image switching for quick-paced high-definition broadcast as well as creating the perfect environment for the attendees on site. Central to the viewing experience for both attending and remote fans, the pitch-side perimeter displays play a pivotal role in providing high quality imagery and advertising content. Focused on providing unequivocal reliability and impressive image quality, Absen continues to be recognised as an LED supplier providing the key requirements for the world’s most watched sporting events. Fulfilling its impeccable reputation in sport LED products, the A99 stadium perimeter display offers a superior solution to meet the needs of sporting stadiums, built to the most stringent technical standards for the industry.

LED with its eye on the ball

Most recently the A99 was the chosen LED display product for the FIFA World Cup in Qatar, recognised as the world’s single most viewed and followed sporting event. The A99 could be spotted across the eight World Cup stadia by attending fans or by the billions of global live broadcast audience. To fulfil the demands of this world leading sporting event, the Absen A99 assures visual performance, stability and reliability as well as convenience and safety making it the ideal product to function in such a demanding environment.

Designed to be viewed by millions, the Absen A99 Stadium Perimeter LED Display boasts excellent visual performance thanks to its key features incorporated into the display. The pixel pitch of 6.25mm/10mm results in high-quality, crisp images for visibility throughout the whole stadium and for broadcast viewers. The display is designed to be adaptable to the stadium environment with low

brightness control and high grayscale, the display and video effects remain excellent even when brightness levels are lowered to less than 20% of output. This provides consistently high-quality visual performance for outdoor or indoor siting, day-time, night-time, and in sunshine or cloudy rain conditions. With sporting events being broadcast more than ever, the LED needs to perform for both fans at the stadium and those watching from home, with a effective viewing experience over broadcast. The A99 has a high refresh rate, allowing for smoother motion of images for a cleaner viewing experience. Additionally with high contrast ratio and wide coverage of colour gamut, the LED can produce deeper blacks and allows for precise colour reproduction to accurately display brand and team content the way it is intended to be seen to audiences all over the world. Stadium cameras are able to capture these high-quality pictures at all angles with the A99’s by the 160/130-degree super wide viewing angle.

Unparalleled match fitness

The sporting environment is demanding and like the athletes, display performance is needed come rain or shine, able to face the physical challenges of the action-packed stadium environment. The A99 has stability and reliability built in, the waterproof 6.5mm and 10mm panels feature alongside IP65 water-protected power boxes, and parallel data and power connections to ensure that any fault will not affect the operation of the modules. The displays go through Football impact tests, simulating how the LED could come in contact during gameplay, to ensure the product remains stable no matter what may happen on the pitch. Should an essential repair be necessary, Absen’s A99 is ready. Simple front or rear replacement is quick and easy with modules fixed by minimal screws. Furthermore, the A99 has undergone rigorous impact testing, satisfying its suitability to its intended environment. Tough on the inside, the A99 is outwardly softened for player protection with protection pads around the panel and a soft front mask.

Series

CHRISTIE A Griffyn

s stadiums and large-scale sporting venues around the world strive to elevate the fan experience ever higher, venue operators are being challenged to captivate their audiences with increasingly engaging methods. One way to form an engaging centrepiece at sporting events is to transform the all-important playing surface into a dramatic focal point with the power of projection mapping. It’s possible to map onto ice surfaces, basketball courts, and stadium surfaces to bring any venue to life with eye-catching content. The video content can be as varied as spectacular introduction sequences, animated player profiles, and promotion or sponsor marketing and engagement – enhancing the atmosphere and opening up greater messaging possibilities.

Enter Christie Griffyn

The Christie® Griffyn Series of RGB pure laser projectors is specifically designed for use at sports venues and other challenging large-scale environments requiring high brightness and the color accuracy of an RGB laser light source. It can illuminate any surface in native 4K resolution with up to 50,000 ISO lumens, while running on singlephase power for exceptional energy efficiency.

Pick your power

Available in two brightness models – the 4K35-RGB and 4K50-RGB – the Griffyn Series is designed for high-impact performance to illuminate any large-scale screen or surface. Solid-state RGB pure laser projection offers several advantages over laser phosphor illumination, including 25% longer life, and uses individual red, green, and blue lasers to produce the most dynamic range of color available today.

The flagship Griffyn 4K50-RGB produces greater than 98% of the Rec. 2020 color space—more than twice the color of Rec. 709, the standard in other projection technology, and 50% more than DCI-P3 capable projectors providing a superior audience experience with more vibrant real-world colors. With the Mirage option, Griffyn 4K50-RGB can achieve frame rates up to 120Hz at 4K resolution for smooth, sharp, fast-motion video. Both models weigh less than 200 lbs. and are among the lightest and brightest in their respective classes.

Adding the Mystique

Griffyn is bolstered by two additional software packages – available at no extra cost – to help integrators deliver on their projects. With Mystique™ Lite camera-based alignment software and an inexpensive

supported webcam, up to three Christie projectors can be blended in a single horizontal projector array on a flat surface or screen with the click of a button, saving time and money. Additional Mystique editions are available to enable more complex installations, facilitating unlimited numbers of projectors and custom screen shapes and surfaces.

Managing remotely with Conductor

Christie Conductor is an advanced monitoring and control solution for up to 256 Christie 3DLP projectors on the same network. Conductor allows users to perform a wide range of tasks remotely including auto power on/off, access to interrogator logs, diagnosing and resolving issues, and performing firmware updates and health checks, all from the comfort of a laptop.

Design evolutions

The Griffyn Series also features the new TruLife+ ‘all-in’ electronics platform that has every connection built-in, including a Christie Terra SDVoE connection, to eliminate the hassle of removable option cards.

Griffyn is Christie’s first projector series to offer new electronic color convergence (ECC), giving users the ability to select red, green, or blue individually and adjust each color by remote control, for easy image alignment that saves time and money, whether the installation is on the ground or in the air.

Its compatibility with most Christie 4K lenses allows Christie partners to reduce costs by reusing existing lens inventory. Single phase power further reduces ongoing energy costs and simplifies installation, and sealed optics ensures reliable performance, with a 3-year parts and labor warranty for peace of mind. Rounded out by its lifespan of 25,000 hours to 50% brightness, it delivers both a strong return on investment and high-end performance.

Up your game

Designed with unrivaled engineering expertise and projection heritage, and trusted by projection mapping pioneers, Christiepowered projection mapping is used at elite events around the world. The award-winning Christie Griffyn Series is ready to deliver the visual punch to light up stadiums and sporting venues for a truly unforgettable fan experience.

BENDAC

Bendac, a renowned leader in LED technology, has once again set new standards in the industry with the launch of their latest product, Impakt. This upgraded perimeter LED technology is poised to revolutionise the market with its state-of-the-art features and visually stunning design. Impakt is available in a range of pixel pitches, from 6.6mm to 10mm, providing flexibility for customers to choose the optimal resolution for their specific requirements. It also delivers exceptional visual quality and clarity. With a 7,500Hz refresh rate and a wide viewing angle of 160/120 degrees, Impakt guarantees smooth and vivid visuals from every angle, engaging audiences from every seat. This carefully crafted product has user convenience in mind, ensuring that regular maintenance and repairs can be carried out effortlessly, minimising downtime and maximising productivity. Impakts rear service capability allows technicians to access and repair the LED panels without hassle, eliminating the need for complex disassembly and ensuring seamless servicing. Bendac’s commitment to userfriendly features is also evident in the quick removable power supply unit (PSU) and power distribution unit (PDU) of Impakt. These components can be easily detached for maintenance or replacement, further reducing downtime and streamlining operations. The use of an aluminium profile in Impakt brings about a significant reduction in weight without compromising on strength. This breakthrough design element not only enhances portability (also supported with the inclusion of wheels), but also contributes to

increased durability, making Impakt a reliable choice for sports applications.

To ensure perfect alignment, Impakt is equipped with a self-leveling spring mechanism. This feature adjusts the panel height to achieve precise alignment, eliminating any irregularities in the display and delivering a seamless viewing experience.

Impakt is one of the slimmest perimeter products on the market, with a sleek and slim profile of just 84mm. This slim profile means that it takes up less space and creates a visually cleaner pitchside system. Additionally, the Impakt is a more sustainable choice for clubs, with an average power consumption of just 300W/m2. This means that not only is it visually stunning, but it is also more environmentally friendly. Bendac’s commitment to sustainability is evident in the Impakt’s design, which contributes to reducing the carbon footprint of sports organisations. By choosing the Impakt, venues can reduce their energy consumption and lower their environmental impact without compromising on performance or visual quality.

Bendac’s latest offering is a testament to their unwavering dedication to pushing the boundaries of LED technology. With its market-leading features, visually stunning design, and impeccable performance, Impakt is set to revolutionise the industry and provide a new standard for perimeter LED displays.

For more information about Impakt and Bendac’s extensive range of LED products, please visit: www.bendac.tech or contact info@bendac.tech

Impakt

ADI European Clubs Turn to ADI for Stadium Upgrades Ahead of New Season

For over 32 years, ADI have been providing world-class stadium solutions to football clubs across Europe, ranging from the Premier League and Bundesliga, to the EFL and SPFL.

As it stands, their state-of-the-art LED technology sits within 54 football stadiums worldwide, while they also run the full matchday production at 28 of those. It doesn’t look like there is any slowing down either, as the Preston-based company have been commissioned by more than 15 European football clubs to deliver a range of stadia upgrade projects this summer, in preparation for the upcoming 2023/24 season.

Clubs from the Premier League, Championship, League One, SPFL, Eredivisie and Eerste Divisie have all partnered with ADI to digitally enhance or transform their stadiums ahead of the new campaign, with the project details for Southampton, Aberdeen and Mansfield already revealed.

The influx of projects in recent months underpins the growth of the business, but also the shift in mentality towards fan engagement and maximising revenue streams through in-bowl digital displays. It is not just in the UK either, with four Dutch clubs choosing ADI to revolutionise their stadiums following a recent European roadshow.

Aside from their expertise in LED and content creation, it is ADI’s unprecedented end-to-end solution that adds the most value to their customers – a service which cannot be matched by anyone else in the market.

Unique End-to-end Service

What separates ADI from the rest of the field is their unique ability to manufacture, install and maintain the LED technology, as well as create and manage the content that goes to the displays in real-time – all of which can be achieved remotely from their in-house production galleries via a Live Venue Broadcast

Network.

Discussing the process, Head of Engagement Claire Fitzgerald-Firth said: “People only usually see the end result, but these projects are months, sometimes years, in the making and consist of an in-depth consultation process.

“Naturally, they all begin with an initial conversation, where our commercial, creative and operational teams come up with innovative concepts and ideas that provide a solution to the problems our client currently has.

“Once a brief has been agreed, we move onto the manufacturing phase, where all the bespoke drawings and specifications are brought to life in intricate detail. Every screen is custom-made for that specific installation – there is no one size fits all.

“It is then passed over to our engineers who will oversee the structural work and installation. Meanwhile, the Systems team will lay the fibre network and connectivity to enable the content

delivery.

“Rigorous testing of the hardware then takes place, with content created and tested in all different formats and resolutions. If the club has opted in for our matchday production services, this is when our relationship just gets started, as we work with them to deliver the most visually engaging and immersive matchday experience possible.

“All our technology comes with a service and maintenance package that guarantees longevity and cost-effectiveness, and ties into our ambition to provide world-class customer service for our clients.”

Unlocking Engagement and Commercial Opportunities with LED

The main reason why football clubs choose to digitalise their in-venue signage is to maximise the breadth of fan engagement and commercial opportunities that LED can offer - a key driver for the 15 clubs undergoing digital makeovers this summer. From a matchday experience perspective, clubs are having to be more creative than ever to entertain their fans through content, from the moment they take their seat to the moment they leave.

ADI CEO Geraint Williams commented: “Anybody can go out and buy large-format LED screens and have them installed into a venue, but it is the vibrant, creative content being delivered to them that brings them to life.

“We’re seeing an increasing number of clubs turn to us for a full matchday production service because of the huge value that our creative teams can bring from a content perspective.

“Fan engagement is becoming more and more important to the wider matchday experience. Generating an immersive and interactive experience inside the stadia bowl is what makes supporters keep coming back and that is something that our new clients are invested in.”

“Commercially, we’re helping lots of clubs unlock their potential, both on a local, national and global scale –our work at Burnley FC is a perfect example of this.

“Our screens and digiBOARD perimeter solution gives clubs a stadium-wide platform capable of promoting various brands at the same time. This then allows a club’s commercial team to expand their advertising and sponsorship inventory due to the increased advertising space available and when all the displays

are used together in a Total Stadium Takeover, it can be an extremely powerful activation.”

European Roadshow

The first leg of ADI’s European Roadshow saw them travel across the Netherlands visiting professional sports clubs, culminating in four new deals being won. Partnering with Azerion - a leading digital entertainment and media platform – ADI’s second leg is set to commence in October, where they will visit clubs in Germany and Belgium.

The Tour is being done in a state-of-the-art, airconditioned pod kitted out with a host of ADI’s latest interactive digital platforms and gives clubs the unique opportunity to see engage and interact with the technology in their back yard. Workshops, live demonstrations and Q&A sessions are also part of the collaborative 90-minute session, with an informal lunch rounding things off at the end.

For more information, visit www.roadshow.adi.tv. If you would like to book the Tech Tour to come to your venue, please email claire.fitzgerald-firth@adi.tv

Southampton Football Club

Ahead of the Championship season, ADI installed two large-scale digital platforms for Southampton Football Club, as they look to transform the look and feel of St Mary’s Stadium.

After a consultative process, The Saints chose to bring in stadia transformation specialists ADI to replace the existing 33.5 square metre screens in the Chapel

and Northam stands and upgrade them with two superwide 72 square metre displays that feature ADI’s new proprietary MTX technology. The decision to upgrade to a 10mm 32:9 display and move away from the traditional 16:9 format will provide additional content zones for in-game club communications, brand activations and live match feeds – all of which can be displayed simultaneously.

BRINGING NEXT GENERATION VENUE TECHNOLOGY, DIRECT TO YOU!

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

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.