Audinate’s Dante technology has hugely impacted the industry, setting new standards for digital AV networking.
UBER ARENA
A complete AV transformation at Berlin’s multipurpose venue, delivered by TRISON, Samsung, and L-Acoustics.
SCOTIABANK ARENA
The Toronto venue has unveiled a major upgrade to its audio experience, with a spectacular Meyer Sound PANTHER system.
ESSMA INTERVIEW
We speak to former ESSMA President, John Beattie, and his successor, Francesco Gianello of Juventus.
MYKONOS, GREECE | 13-16 MAY 2025
ENGINEERED FOR IMPACT.
VERGENCE GROUP IS EXPANDING
A revolution in sound engineering to deliver unparalleled fidelity and power. Now offering fully self-powered sound solutions, with redundant daisy-chainable AVB/Milan connectivity, digitally controlled by ArrayIntelligence.
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WELCOME
It’s a venue that everyone has been discussing ever since it was first annouced, and now, after officially opening in August, the Intuit Dome has already made its mark. The LA Clippers’ owner, Steve Balmer had always expressed a bold vision for the $2 billion arena - and no expense has been spared in delivering what is one of the most hightech venues in the world. The aim was to create an experience like no other, and that has certainly been delivered by the breath-taking design and immersive technology throughout. Check out the cover story on page 38.
We’ve also taken a closer look at Uber Arena, in which TRISON and Samsung have combined to transform the visuals in the Berlin venue, while L-Acoustics have also provided truly state-of-the-art sound.
There’s a big focus on networked audio in stadiums, too, with a deep dive into Audinate’s Dante technology and how it has profoundly impacted the industry, setting new standards for digital AV networking.
There’s features on Scotiabamk Arena in Toronto, as well as an eye-catching project at the New Administrative Capital Stadium in Egypt. We’ve covered many more venues, too.
Elsewhere, naming righrs in stadiums are on the agenda, with a look at Jones Sports stellar work in that field.
Plus, we have our in-depth interview with John Beattie, formerly of Arsenal FC, and Juventus FC’s Francesco Gianello, as John hands over the ESSMA presidency. Definitely worth checking out the insights offered by two giants of the industry.
Finally, we hope you have a fantastic break over Christmas - and we look forward to seeing everyone again in 2025!
Sam Hughes Editorial Director
Editorial Director
Sam Hughes
s.hughes@mondiale.co.uk
Commercial Director
Jamie Dixon
j.dixon@mondiale.co.uk
Design & Production
Dan Seaton
d.seaton@mondiale.co.uk
Dave Bell d.bell@mondiale.co.uk
Finance Director
Amanda Giles a.giles@mondiale.co.uk
Credit Control
ar@mondiale.co.uk
Group Chairman
Damian Walsh
MONDO | STADIA is published by Mondiale Media Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK
Tel: +44 161 476 8340
TALK
006 How the Dante Platform is Transforming | Audinate
010 Frank Padikkala | Audinate INTERVIEW
018 John Beattie & Francesco Gianello | ESSMA THE FULL PITCH
028 Intuit Dome | California, USA
048 Uber Arena | Berlin, Germany
VENUE FOCUS AUDIO
060 Scotiabank Arena | Toronto, Canada
066 Propst Arena | Huntsville, USA
072 Wiener Stadthalle | Vienna, Austria
VIDEO
076 CO’Met Arena | Orléans, France
VENUE FOCUS PROJECTION
080 New Administrative Capital Stadium | NAC, Egypt
086 Delta Center & Honda Center | Salt Lake City & Anaheim, USA
EXTRA TIME
094 TERRAPLAS | TerraTrak Plus & TerraTile
096 AJA | Audio & Video In-Venue With AV-over-IP
100 Tasker | Digital Audio & Video Application Over LAN
Cables
102 Full Time | George Vaughan
Cover Image: LA Clippers / Daktronics
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SOUND PRECISION: HOW THE DANTE PLATFORM IS TRANSFORMING STADIUM EXPERIENCES
Images: Audinate, SF. Port, Paul Esch-Laurent
The crack of the bat, the roar of the crowd, the opening notes to a well-loved song. When people go to stadiums and arenas, they want to make memories. Most people remember their first concert or when their club won a nail-biting game on the pitch in the final seconds, and that’s why AV can be such a critical element of memory-making.
Stadiums and arenas are AV juggernauts, often with thousands of endpoints, stringent performance requirements, and a multitude of audio and video inputs that have to be handled with the skill of a concert maestro. It’s a seemingly coordinated maelstrom of last-minute adjustments due to the kinetic nature of the event(s). What makes it all possible in stadiums around the world is the Dante platform.
Audinate’s Dante technology has profoundly impacted the AV industry, setting new standards for digital AV networking. From its inception in 2006 to its current status as the leading AV networking protocol, Dante has evolved into a complete, easy-to-use AV-over-IP platform. While Dante is inherently interoperable across 4,000 audio and video products (and counting) from more than 600 manufacturers, much of Audinate’s recent strategic emphasis has been building out other critical aspects of Dante’s vibrant ecosystem. These include management and control, sending media signals everywhere via the cloud, adding AES 256 media encryption coupled with cross-manufacturer interoperability, and creating a rich developer environment with product SDKs and a robust platform API. They all come together holistically as foundational pillars
of the Dante platform.
The Move Towards Cloud-based Broadcast Production
However, it’s not just about the experience in the stadium. It’s also about providing the best possible experience for the millions watching from home. For stadiums and arenas, a new era of broadcasting based on shifting audience viewing preferences, workflow paradigms and content creation/curation is underway. For these reasons, cloud-based broadcast production is gaining popularity by augmenting traditional production workflows with increased flexibility and efficiency. Dante is there to support the evolution of broadcasting.
Cloud-based broadcast production for sporting events and concerts seamlessly integrates Dante audio streams within the venue to cloudbased mixing software and remote mixing facilities, revolutionizing how broadcasts are managed. Reducing the amount of hardware and related infrastructure required to support large events leads to significant cost savings for the broadcaster.
This approach also broadens access to talent. Remote production makes it easier to include commentators, analysts, or guests who cannot be physically present at the broadcast location. They can contribute from wherever they are, making it possible to include a broader range of voices and perspectives in the broadcast.
Scalability is another key advantage. Broadcasters can easily scale up their operations to cover large, multi-venue events or scale down for
smaller productions. This flexibility makes cloud production a versatile solution that can be adapted to a wide range of broadcasting needs.
One of the less obvious but equally important benefits realized with cloud-based production is that it reduces the physical footprint at the broadcast venue. By minimizing the need for onsite equipment and personnel, remote production is less disruptive to the event itself, allowing for a more authentic and uninterrupted viewer experience.
Cloud-based production offers a flexible, efficient, and scalable solution that can meet the demands of any broadcast. Audio endpoints can send synchronized, high-fidelity audio directly to best-of-breed or customer-preferred production software in the cloud. Audio can be distributed globally within the cloud, allowing different teams to use the same audio within multiple applications and locations to address different audiences, languages, and aspects of the production process. Source audio can be sent from remote sites directly to the cloud so mixing engineers can do their jobs from wherever they are located.
Leveraging Opportunity in the Cloud with Dante Connect Picture a week filled with overlapping races: a Formula 1 Grand Prix in Monaco, a MotoGP race in Valencia, and a World Rally Championship event in Finland. Each of these events, happening in different locations and time zones,
requires a unique audio setup, and Dante Connect is the key to managing these complex requirements. Dante Connect is a software application suite that facilitates cloud-based broadcast production and is a powerful platform for A1s and mixing engineers, combining the familiarity, ease of use and tight synchronization of Dante audio with seamless connectivity to centralized production tools running on cloud instances.
Specifically, Dante Connect allows broadcasters to rethink how they approach audio production by letting them take advantage of Dante devices anywhere in the world, create a cloud-based network of these devices, and then manage it from wherever their production staff is based. Dante Connect enables the discrete transmission of all audio content to the cloud for mixing and downstream production, freeing broadcasters from the restrictions of transmitting audio coupled or muxed with video streams. The ability to create efficient remote production workflows directly from the hundreds of thousands of on-premise Dante devices has the potential to revolutionize cloud-based audio production. With Dante Connect, up to 256 channels of high-fidelity audio can be sent to the cloud simultaneously. Operators benefit from the solid experience they’ve come to expect from on-prem Dante solutions, now seamlessly integrated into their cloud-based productions. This evolution eliminates the disparate experience between studios, OB trucks, and
virtualized production environments. Furthermore, audio can be disseminated worldwide within the cloud, empowering various teams to utilize the same audio across diverse applications and locations, catering to different audiences, languages, and facets of the production workflow.
Dante Connect also provides low-bandwidth remote audio monitoring so producers and tech directors can review audio content from anywhere with only a web browser to ensure everything is working. Special comms channels provide behind-the-scenes communication between operators, crew, talent, and staff. Additionally, a remote commentator can provide voiceover using the web-based remote contribution client without any special network or hardware requirements.
Looking to the Future
The primary goal of embracing the cloud is to enhance broadcast production flexibility, enabling the creation of more content across different distribution points in response to consumer demand. The AV industry is still in the early stages of adopting cloud-based solutions, and the current trend involves the essential process of “lifting and shifting” hardware devices into the virtualized realm. This transition is a crucial initial step in adapting to a rapidly evolving broadcasting landscape.
Broadcasting faces an unprecedented future where storytelling and content delivery are undergoing significant changes,
redefining what we consider “live.” Cloud-based workflows help broadcasters meet their audiences where they are, in platforms for consumption, preferred languages, and more. Aspects like social media interaction and immediate viewer feedback play increasingly significant roles in the performance of sporting events and other broadcasts. These factors, among others, are reshaping the future of broadcasting in ways that were previously unexplored when considering network-only broadcasting.
One notable advantage of virtualized production is that it enables accessibility to on-premises endpoint devices for cloud-based production applications. This opens up new possibilities that were not even on the drawing board until recently, allowing broadcasting to enter a realm of opportunities and innovation that was previously uncharted.
FRANK PADIKKALA SENIOR TECHNICAL SALES ENGINEER AUDINATE
Why is Dante so popular in AV installations?
I think the most straightforward answer is Dante’s simplicity in deploying a network AV solution. The beauty of Dante is that it’s supported in over 5,000 products manufactured by more than 600 partners, allowing integrators to pick and choose whatever components they want to build out whatever solution they’re looking to implement and meet those needs with complete interoperability. The one thing that everybody knows is that when they plug in two Dante devices, they know it’ll work. They will be able to send media from point A to point B.
Interoperability used to be a huge struggle for the AV industry. If you look at the evolution of AV over the past 1015 years, we’ve gone from tons of cabling where you had to verify connectors, check the cabling, and make sure cabling standards were being met.
Today, we’re using the network as the underlying infrastructure, and Dante was at the forefront of that movement. Ethernet’s an IT standard that’s been around for a long time, so you don’t even need AV companies to lay out that cabling architecture.
Essentially, we’ve given people a standard on which to build their AV solutions. They now have a reliable interoperability platform (Dante) that just works, so then they can focus on the actual AV. Dante provides benefits for both installers and end users, as well as for the design architecture approach, and that’s why people will always gravitate towards Dante solutions when they’re trying to implement AV solutions
How is Dante typically used in stadiums and other large venues?
The design perspective of a large venue or a stadium has shifted in that now you don’t have limitations sending signals from one point to the other, whether it’s a performance venue, a large auditorium, or a stadium; whatever the size, you can build a network that essentially caters to the venue’s specific needs. Standard Ethernet cabling can extend up
to 91m (300 feet), while fiber architecture can extend for kilometers. There are no distance limitations, so to speak. Essentially, now a system designer just has to be concerned with the actual audio. They can place whatever Dante speakers, amplifiers, mixers, audio sources, inputs, and outputs where they make the most sense. The gear can be located throughout the facility and managed from a single point.
It’s easy to deploy it across the stadium. It’s also easy to manage and implement because there are so many available product options. That’s why you see Dante deployed in projects of all sizes. It’s easy to deploy; all you have to do is design for the underlying architecture and venue performance requirements.
What are some of the common challenges of large installations like stadiums?
I think the biggest challenge in those performance venues is ensuring the user experience. At the end of the day, how the venue is sending audio or video from point to point doesn’t matter to the user — they’re all about the experience. The typical challenges associated with any AV design — stadium or otherwise — are still the factors that become the challenges. Whether that is laying out the speakers, verifying viewing angles of displays, or working with LED deployments, those challenges remain the same.
What Dante does is significantly increase the flexibility of stadium AV systems (and others) by removing point-to-point connections and replacing them with a network that allows AV teams to transmit signals from anywhere to anywhere without needing to run additional or specialized cables. In addition to streamlining gameday operations, Dante enables stadiums to easily accommodate many last-minute AV requests simply by updating distribution paths in Dante Controller. Dante takes much of the stress away from the underlying connection piece because we are the pipe that can take anything from Point A to Point Z with ultra-low latency.
Images: Audinate, Gene Gallin
Given the increased number of endpoints with large installations, is there a tipping point for managing the network effectively after everything has been set up and configured?
Gone are the days of viewing the network as a cable replacement. I think that’s how the initial designs were. People perceived the network as, all right, I’m taking away the HDMI cables, the SDI cables, the speaker cables, the microphone cables, and then replacing them with the network. You can’t do that anymore. You need to treat the network like a network. Many IT professionals have built their careers and lives on designing and architecting large networks. The same approach needs to apply to AV networks. So there is definitely a need to utilize all the best practices that come with managing a network, whether it be segregating the traffic, making sure that the port counts are met, making sure that the bandwidth requirements are met, making sure that the switching architecture meets both the IT and AV needs of the venue.
If you’re looking at it from a control perspective at an AV level, you’re looking at interfaces, APIs, connection points, and control mechanisms for multitudes of devices and manufacturers. We give you the ability to consolidate all of that technology with our management platforms, which are IT devices. They are IT implementations that help your
network team maintain the integrity and quality of the network while also allowing AV professionals to stick to their core strengths.
Often, when we have these conversations with end users, our management messaging or conversations resonate much better with the IT departments. They’re happy to hear that there is a means for them to manage AV infrastructure because it’s often been a problem in the past. The solution for many IT teams was essentially running a parallel network. They would have their corporate in-house network architecture and a separate AV network, which worked fine until security became preeminent. Any device with a network port becomes a point of concern or a vulnerability, so you must manage and secure them. So management must go beyond saying, “All right, you don’t have to worry about it. This is our own thing.” That doesn’t hold true anymore. And I think what many people don’t understand from a traditional AV perspective is that we’re looking at it and saying, “Hey, this is a microphone input. What possibly could happen to this? What would they want to do with a microphone?”
Threat actors don’t necessarily concern themselves with the individual functionality of a device. For them, there is a holistic motive for this. It could be a chain of events where this tiny microphone is just one link. The biggest hacks, the biggest things that have happened over the last few
years, they’ve all happened because of some small point of entry. I think it’s important that we manage them. I think it’s important that we secure them, and what we’re doing is enabling those capabilities through our management solutions.
Are there any best practices for administering large AV networks?
Absolutely. When looking at a Dante network, it’s important to look at it from a management perspective. We have two solutions today — Dante Domain Manager and Dante Director — giving people the flexibility to install their own server-based architecture on-premise or in the cloud, or a SaaS version. The two management platforms need to be established as the foundation for managing your large Dante deployments. That gives you the flexibility to build and segregate your networks and ensure correct communication. Our management platforms do everything you associate with a typical IT network platform.
In the past, you’d often have a massive flat network of hundreds or maybe thousands of AV devices across a campus, with the primary concern being port count. I have 200 devices, so I need 200 data ports, which is easy to do — 45 or 48 ports on a switch. Let’s throw in five of them. We’re good to go with some headroom if we grow there.
No, incorrect. The problem is that you’ve exposed this large campus to everything simultaneously. If you look at a large stadium, concurrent audio performances are happening. There’s the audio output that needs to go to the individuals.
There’s a public address system, audio inputs, edit suites, broadcast stations, and more. All of these things don’t need to talk to each other. You can segregate them based on their functionality. But if you configure it as one large flat network, you can’t do that.
By implementing our management platforms, you can design your network in the most secure manner and still ensure that the individual AV professional doesn’t have to concern themselves with the intricacies of the underlying networking because we help them manage it. For them, it’s still Dante Controller and installing their patches, and that’s it. But behind the scenes, you have either Dante Domain Manager or Dante Director to gather all that information and become that single point of aggregation.
We’re also seeing MSPs getting involved in these conversations where they’re essentially managing entire groups of audiovisual devices because they have the information at hand, and they don’t have to actually individually communicate with each device. I think that’s the importance of having management, and that’s essentially what the best practices look like. You need to be able to manage things. You need to be able to segregate things. You need to be able to plan things for security because, at the end of the day, you need to do a lot of things on the network. The network is a very powerful thing. It’s a large ecosystem. We don’t leverage it if we don’t do all these things, and that’s what we give as an opportunity. Network best practices remain the way any network professional would do, and we’ll take care of the AV component.
Is Dante ever involved in live broadcasts of stadium events?
Dante’s been involved in traditional stadium audio broadcasts for several years. Dante’s installed in a majority of professional American football and baseball stadiums in the United States, as well as many football stadiums in EMEA. It’s the de facto audio transport for the pro AV industry, including stadiums and arenas. As mentioned previously, Dante can accommodate and interoperate with hundreds or even thousands of endpoints that may be installed in large venues. That said, we recently saw a strategic opportunity to become a more significant contributor to the broadcast market, which is why we released Dante Connect last year. Dante Connect allows broadcasters to rethink how they approach audio production by enabling a seamless transition to the cloud, maintaining the familiar workflows that production teams are accustomed to in on-premise environments. The shift to cloud-based production workflows opens up new possibilities for efficiency and collaboration, transforming the traditional boundaries of remote audio production by connecting Dante devices directly to the cloud.
With Dante Connect, Dante audio products can send up to 256 channels at a time of synchronized, high-fidelity audio directly from on-premise Dante devices to best-of-breed or customer-preferred production software in the cloud. Audio can be distributed globally within the cloud, allowing different teams to use the same audio within multiple applications and locations to address various audiences, languages, and aspects of the production process. Source audio can be sent from remote sites directly to the cloud so mixing engineers can do their jobs from wherever they are located.
In fact, we’ve been involved in several Tier-One broadcasts over the last several months in which the recording was happening in one location while the entire processing team, including the A1s, the video editing, and the TDs, were at a different location, with the finished product sent out using CDNs into broadcast networks and live broadcasts. There’s also a large developer ecosystem that we’re building with Dante Connect through a solution called the Dante Connect SDK. Many of the famous names that are very broadcast-centric companies are now building cloud-based mixers and cloud-based processing platforms, which utilizes the SDK. Now you can have on-premise Dante that you’re used to and also have things in the cloud, which is a very
sustainable way of looking at media processing, considering the biggest challenge that most broadcasters face today is the need for greater flexibility. They need to do more with the broadcast that they have, and a lot of the processing is going away from on-premise locations into the cloud. We provide that flexibility with Dante Connect.
Dante has been around for about 20 years now. How has it evolved over the years? What does Dante look like today?
If anyone asks, “What is Dante,” I think audio is the first thing that comes to mind. But Dante’s evolved along with the entire AV industry. Today, everybody wants a single platform. People want options to design, yet they want guaranteed interoperability. The Dante platform we have today has expanded from audio to video, but we are strongly also going towards the ability to control and manage things from anywhere. In essence, treating Dante devices like network endpoints that can be managed from anywhere globally.
Adding in Dante Connect and our software-based solutions, we’re also extending the concept of essentially sending and receiving media signals anywhere and controlling them from anywhere.
We’re also pushing towards increasing the security standards of AV systems. We already had device-level security and network security with our management platforms, but you’re also going to see encryption in the native Dante media signals. It’s where the network market is going, and security is becoming a huge push for most companies. Overall, our vision for the future is a world where designers, installers, and solution providers can design and implement their solutions with peace of mind, knowing that they have a reliable source that essentially trues up and ensures the partnership between all the different components so they can focus on their core strengths of designing solutions that fit the customer’s need. We take care of many things behind the scenes, from audio, video, security control management, and transport perspectives. We have all the components to build on that and create whatever solution, whether large stadiums, conference rooms, higher ed facilities, cloud-based deployments, or cloud networks. It doesn’t matter. We have a solution that can go into all those spaces, and we’re trying to enable our partners to have those solutions as well.
At K-array, we have always been audio innovators, it’s in our DNA. This extends to large-scale networked AV applications such as stadia, arenas, and other complex environments.Our products are known for high-quality sound, versatility and advanced technology, making them a top choice for integrators, engineers and designers. Our loudspeakers, electronics and advanced software solutions, have often been industry game-changers.
Stadia
INTERVIEW
“Succeeding John is an honour. I heard something that truly resonated: John is THE stadium manager. It’s a title that perfectly captures his influence and contributions to the industry.”
Francesco Gianello Stadium Director, Juventus FC & ESSMA President
JOHN BEATTIE & FRANCESCO GIANELLO
MONDO | STADIA had the honour of interviewing two giants of the stadium industry in John Beattie and Francesco Gianello at the ESSMA Summit in Madrid. The pair discussed their careers at both Arsenal and Juventus, contributions to the wider industry, and visionary leadership as John hands over the ESSMA presidency to Francesco.
John, could you start by sharing how you came to be involved with ESSMA?
JB: It all began back in the early to mid-1990s. ESSMA had only been established for a year or two when I first got involved. Even in those early days, I could see its potential. The industry needed a platform where everyone could network and share best practices – and it was clear that ESSMA had the ability to fill that gap. In the early years, though, it was challenging. For a good decade or so, progress was slow and often felt like one step forward, two steps back. I became president in 2008 after the passing of Lionel Dreksel, ESSMA’s Founder. Declan O’Brien stepped in as Vice President, and together we worked hard to move things forward. However, it was difficult to fully commit because our day jobs often took precedence. The turning point came when we met Dimitri Huygen. We decided to bring him on board under very clear terms: we’d only pay him if he made money and expanded the association – we were very subtle! That arrangement really focused his efforts, and things started to change…
In 2011, we had an AGM that ended with the cleaners throwing us out of the room because we’d been tacked onto another conference without securing the proper space! A low point, you could say. But that moment also marked a turning point. Around that time, Dimitri officially joined us, and from then on, the association began to grow significantly. Back then, we had about 40 members. Fast forward 12 years, and we’re now close to 400 members. It’s incredible to see how far we’ve come in expanding the association and cementing its place in the industry.
Francesco, when did you first hear about ESSMA and when did you become involved in the association? FG: I was experiencing the same challenges and needs that John mentioned. In 2011, I was appointed as the first-ever Venue Director of a private stadium in Italy. While that might sound routine in other countries, it was a significant milestone for Italy.
Before that, I was already involved in football as the General Secretary of the club, managing stadiumrelated matters from a different perspective. Back then, there was always someone else to handle the day-to-day issues related to the venue. But when I took on the role of venue director, everything changed. Suddenly, I was the one responsible for everything. I realised I needed a network of peers to share ideas, address challenges, and discuss solutions. Around that time, a supplier invited me to attend my first ESSMA Summit in Munich. It was a transformative experience. For the first time, I found answers to many of the questions I’d been struggling with. Even more importantly, I discovered a community of people who shared the same concerns and challenges.
That interaction was pivotal. It showed me the value of collaboration and knowledge exchange. Over the years, my role as Stadium Director at Juventus has been strongly supported by my club’s top management. They’ve encouraged the development and safe management of the stadium, which has allowed us to achieve a lot.
Since attending my first ESSMA events, I’ve been able to contribute more actively. In 2018, I joined the advisory board and later the executive board of the organisation. Through ESSMA, I’ve built a network of invaluable contacts. This network has been instrumental not only in maintaining the day-today operations of the stadium but also in driving its ongoing development and innovation.
What were the key steps and strategies that contributed to ESSMA’s growth?
JB: I think the key was having someone dedicated full-time to showing the value of ESSMA and demonstrating that it was a product the industry genuinely needed. When we tried to manage it ourselves, it just didn’t work. As I mentioned earlier, our day jobs often took priority, leaving little time to focus on the association.
Bringing in someone whose sole responsibility was to promote ESSMA was exactly what was needed. It allowed the association to grow and, importantly, to be taken seriously. People could see there was real momentum behind it, and they recognized the value of joining this group. It wasn’t just about networking among members; the corporate partners also saw the potential. ESSMA became a collaborative community where everyone—clubs, venue managers, or partners—could connect and share ideas. That really helped drive its success.
In which ways do you feel ESSMA has shaped or influenced stadium management and facilities across Europe?
JB: I think it’s widely recognised that stadiums are far safer today than they were back in the early 1990s. A big reason for that is the way professionals now communicate and share knowledge. By talking to each other, we can identify what works and what doesn’t. There’s no need to reinvent the wheel when someone else has already faced the same challenge and found a solution. Even if you adapt that solution to your own circumstances, at least you’re not starting from scratch - you’re starting from an informed, experienced foundation.
Safety has been a key focus, but it’s not the only area that has benefited. Groundskeeping, for example, has advanced significantly, with pitches improving through shared expertise. Corporate partners have also played a crucial role, too - they bring the latest products and innovations to the table, which means we’re exposed to the best options available. Instead of spending hours searching the internet
for solutions, we can start by looking at what our partners are offering, confident that these are proven and going to make a difference.
In fact, my own involvement with ESSMA began through a corporate partner. Partners don’t just promote their own products; they help introduce newcomers to new perspectives and opportunities within the association. It’s this ecosystem of like-minded professionals, sharing best practices and developing ideas, that drives progress - sometimes without even realising it.
What unique challenges do you foresee for ESSMA in the next decade?
FG: I think John and I share a similar perspective on how rapidly stadiums have evolved in recent years. Compared to 15 or 20 years ago, the pace of development and innovation is astonishing. Fans today are much more demanding. They expect different solutions and experiences than previous generations.
Modern fans want to stay connected; they expect sustainability from the venues they visit, and they seek diverse entertainment options—things like TikTok creators or other performers who weren’t traditionally part of the stadium experience. Over the next decade, stadiums will need to become increasingly sustainable, technologically advanced, and oriented toward social media and digital engagement.
In our roles, this means we must remain flexible and adaptable, ready to meet these evolving demands. We can draw inspiration from examples like Tomorrowland, which excels at creating immersive, multi-dimensional
entertainment experiences. Observing what they do helps us apply similar concepts in our stadiums, collaborating with marketing and commercial teams to offer the best possible experiences.
Another critical shift has been the emphasis on fan experience. Twenty years ago, many clubs relied on the assumption that fans would attend simply because they were loyal supporters. But now, with so many competing entertainment options, we must create an unforgettable experience to ensure fans continue to choose the stadium. Getting younger fans engaged early is particularly important. The only way to do that is by making their experiences exceptional from the start. By focusing on innovation and entertainment, we can create lasting connections with the next generation of supporters.
John, looking back at your tenure as ESSMA President, what are some of your most cherished memories or highlights from your time in this role?
JB: It’s difficult to pinpoint one standout experience, to be honest. There have been so many memorable moments and great conferences over the years. Through ESSMA and my role, I’ve been fortunate to travel the world, visiting countless stadiums.
Looking back over the last 37 years, I wouldn’t change a thing. This journey has allowed me to see the world—though admittedly, I’ve seen more stadiums than cities! But, for me, the real privilege has been the opportunity to learn from venues around the globe.
It’s been personally rewarding, but also valuable for the
industry. It’s allowed me to share insights and contribute to advancing safety, security, and stadium management standards. Being able to bring those experiences back and use them to guide and support others has been incredibly fulfilling.
Francesco, are there specific leadership qualities or initiatives of John’s that you aim to carry forward or build upon?
FG: Succeeding John is an honour, and I heard something yesterday that truly resonated: John is the stadium manager. It’s a title that perfectly captures his influence and contributions to the industry.
I’ve had the privilege of observing John’s work over the years. Back when I was General Secretary of Juventus, I visited Highbury and then later the Emirates Stadium. Seeing how John managed the monumental transition from a historic venue like Highbury to a modern, state-of-the-art stadium was truly inspiring.
Taking on this role is something I’ve accepted with both pride and a deep sense of responsibility. I see it as an opportunity to not only continue my work, but also ensure that my team and I stay trained and prepared to serve this dynamic industry. John has dedicated far more years to this profession than I’ve had at Juventus, but after 26 years with the club, I’ve gained significant experience—much of it shaped by learning from others. I believe strongly in sharing that knowledge with colleagues across Europe.
One of the unique strengths of ESSMA is its inclusivity. It’s not just an association for big clubs; it’s a network that
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brings together big, medium, and small clubs. This diversity fosters mutual support. Large clubs may have resources to implement ambitious projects, but smaller clubs, which often face greater constraints, bring creativity and fresh ideas to the table. It’s this cross-pollination of ideas that keeps the industry evolving.
ESSMA isn’t just about the annual summit—it’s a yearround network of workshops, online sessions, and more. The team has done an exceptional job in making these resources accessible, ensuring members can participate and engage without needing to travel. When smaller clubs reach out for advice or assistance, the ESSMA community is always ready to respond, creating a truly collaborative environment.
What is your vision for the future of ESSMA and how do you see it evolving?
FG: I believe ESSMA will need to continue evolving to remain aligned with the changing needs of the industry. Flexibility is key, especially as we address emerging priorities like sustainability. Sustainability will be one of the most critical topics for football clubs across Europe over the next two to five years, and it should become a core mission for the association. ESSMA has an important role to play in helping clubs find the right strategies to integrate sustainability into every stadium across the continent.
Sustainability often operates behind the scenes, unlike more visible topics like ticketing, VIP solutions, or hospitality. But
it is quickly becoming essential. As such, the association must focus on providing actionable answers and gathering insights from its broad community of members. This commitment to addressing pressing issues and fostering knowledge-sharing will be vital for ESSMA’s growth. By equipping clubs of all sizes with the tools and information they need, ESSMA can strengthen its role as a leader in shaping the future of stadium management.
John, what are your plans for the future? Will you continue to stay involved with the organisation in some capacity?
JB: I don’t have any specific plans at the moment; I’m open to whatever opportunities come my way. I’m available for anyone who wants to reach out and talk. However, I don’t want to work full-time anymore! I’m happy to offer my expertise when needed, but I’d rather not be fully immersed in the day-to-day.
That said, I certainly wouldn’t want to disappear from the industry altogether. I’ll just see where life takes me. One thing I’m confident about, though, is that I’m leaving the association in great hands. It’s in a strong position for the future, that’s for sure.
INTUIT DOME
California, USA
Images: LA Clippers, Daktornics, PixMob, Clair Global, Iwan Baan
AECOM
pened on August 15, 2024, the Intuit Dome stands as a bold redefinition of what a modern sports and entertainment venue can achieve. Conceptualised and constructed to fulfil the vision of LA Clippers owner, Steve Ballmer, the $1.8 billion arena complex in Inglewood, California, serves as both “a temple for basketball and performing arts for the 21st century.”
From its sleek, other-wordily architecture to its gamechanging technological innovations, the Intuit Dome has been meticulously designed to provide an unmatched fan experience. Every aspect of the venue—from its immersive video displays and unparalleled acoustics to its intuitive layout and fan-first amenities—has been engineered to make spectators feel closer to the action, redefining the live sports experience.
Sustainability is also at the heart of the Intuit Dome. It’s a trailblazer in sustainable arena design. Beyond its environmental contributions, the arena is poised to have a profound impact on the surrounding community, too, creating a hub for sports, culture, and economic growth. The Intuit Dome isn’t just a venue—it’s a statement. It’s
a symbol of innovation, ambition, and a commitment to delivering a world-class, game-changing experience for fans and performers alike.
AECOM led the core design team for Intuit Dome, which included Anderson Barker Architects, Hood Design Studio, City Design Studio, Walter P. Moore, Henderson Engineering, and Labib Funk & Associates. Consistent with the overall ethos of the project, many of the design partnerships were with local and diverse firms. A joint venture of AECOM Hunt and Turner Construction managed the construction. As the lead designer, AECOM pushed the boundaries to create a unique, high-performance design that represented the character of the LA Clippers and the city itself – vital, powerful, and exciting. Just as importantly, the arena needed to tune into and work well within the context of its surroundings – creating an authentic experience of place, purpose, and community. Key efforts that helped the AECOM team achieve these goals:
A focus on fans
Intuit Dome provides a multidimensional guest experience with myriad features that prioritise the fans, including a
multi-purpose public plaza at the front entrance of the arena, complete with a large media screen, concert stage, community basketball courts, and space for people to gather. The plaza allows all visitors, even those not attending an event, to join in.
Efficient layout, operations and technology provides visitors with a comfortable, convenient and “frictionless” experience from ticketing and parking to “grab-and-go” concessions to minimise time away from their seats. In the same vein, the arena has 120 restrooms, more than any other NBA venue.
Inside, Intuit Dome’s 17,800-seat arena has been designed to bring fans closer to the action and give them the best sightlines and most legroom in the NBA, whether they’re sitting in premium locations courtside or in the upper bowl.
“The Wall,” an uninterrupted section of 51 rows of seats located behind the visiting team’s bench, is intended to draw the Clippers’ most passionate fans and give the team a distinct home court advantage. The innovative design of the unique halo-shaped LED scoreboard – almost a full acre of double-sided displays – brings statistics and replay footage for the audience at an unmatched scale.
Innovation in architectural and engineering design
Intuit Dome’s architecture maximizes the favourable Southern California climate, with a gridshell enclosure that encompasses the arena and team-related program space, as well as informal spaces like indoor/outdoor terraces linking primary interior levels to the outdoors. The gridshell is a standout feature of the visually dynamic and structurally efficient design, a steel frame with diagrid geometry inspired by the elegant form of a basketball net as a ball passes through it. The unique building skin comprises a series of diamond-shaped, interwoven PTFE and ETFE panels with multiple uses that adapt over the different building areas.
Emphasis on sustainability
A key motivator behind Intuit Dome’s design features and user experience is a strong commitment to carbon neutrality and sustainability. Intuit Dome embraces enhanced environmental performance with an indoor-outdoor approach that allows for a naturally ventilated entrance and upper concourse. The gridshell carries a system of flexible, durable PTFE and ETFE membrane panels that modulate wind, sun, and rain. The venue uses 100% outdoor air within the arena bowl, reducing energy consumption, enhancing thermal
comfort, and providing significant health benefits.
Intuit Dome secured LEED Platinum certification from the U.S. Green Building Council, designed to operate 100% carbon-free from day one. It is a fully electric venue, powered by energy collected from a solar panel farm built into the stadium roof and stored in on-site batteries. The facility has enough storage to power a full basketball game or concert even if cut off from the power grid.
A commitment to social value and community impact
Intuit Dome’s connection to the surrounding neighbourhood was a critical aspect of the project. The LA Clippers worked with the City of Inglewood on a far-reaching $100 million benefits package as part of the effort— funding for schools, housing, infrastructure, and jobs were part of the commitment to develop an arena with positive community impact.
Located on historically underutilised parcels of land deemed unsuitable for residential development by the City, Intuit Dome has transformed the space into a vibrant community asset that will be a source of civic pride and an engine for economic growth.
Project leaders and the AECOM team worked with key stakeholders to forge a lasting investment in Inglewood and surrounding communities. Intentional and strategic efforts
for business inclusion and workforce development identified local and minority businesses in the building trades to bring them on to the project and share in its successes. With an eye to the next generation, efforts also included education and local youth, with programming ranging from student tours of the arena site to career fairs with a science, technology, engineering, arts and mathematics (STEAM) focus. Through the Intuit Dome project, AECOM also established the firstever pre-apprenticeship program for Inglewood Unified School District to support high-school students interested in the building trades with opportunities after graduation. Construction of the venue created more than 7,000 full and part-time jobs. It is expected to provide up to 1,500 permanent jobs and generate $260 million in annual economic activity, augmenting the area’s well-established sports and entertainment district anchored by the nearby SoFi Stadium and the Forum. Prior to construction of the Intuit Dome and SoFi Stadium (2016-2020), Inglewood’s unemployment rate hovered at 17%; with the advent of these two projects, it has since declined to around 4%.
Intuit Dome was planned and designed to play the long game for Inglewood– to support the ongoing economic and cultural revitalisation of this majority-minority city and create longterm benefits for its residents, nearby communities, and the larger Los Angeles region for years to come.
Entertainment DESIGNED FOR THE FUTURE OF LIVE
The NOVA Armrest is a powerfully-bright LED installation technology that is integrated directly into each seat of your venue. Compatible with a variety of Dreamseat’s industry-favorite models, this bright LED turns every seat in the house into an interactive pixel of light. Together, these pixels transform the venue into a canvas of live effects that super charge every moment of the game or show.
HENDERSON ENGINEERS
The sports world was abuzz with the August 2024 grand opening of Intuit Dome, the world’s first climate positive arena and home of the Los Angeles Clippers professional basketball team. The multipurpose venue, a site for NBA games, concerts, and other entertainment events, is unlike any other in significant part thanks to sustainable mechanical engineering by Henderson Engineers, a national building systems design firm that was part of its all-star design and construction team.
Located in the Los Angeles suburb of Inglewood, Calif., the 17,700-seat, all-electric arena packs a punch on the amenity front. In addition to housing five basketball courts, a practice facility and training center, and an outdoor plaza with two bars, a restaurant, and a team store, the venue has the world’s largest Halo Board, an oval, double-sided 4K scoreboard that measures nearly an acre. Two megawatts of rooftop solar panels and 11 megawatts of on-site battery storage contribute to the facility operating carbon free, meaning it directly produces no pollution from burning natural gas or other fossil fuels.
On their part, Henderson Engineers incorporated sustainable technologies like heat pumps, heat recovery chillers, highly efficient mag-bearing chillers, and arena bowl under-seat supply air distribution, an innovative, energy-efficient system that provides ventilation and air conditioning from underneath the seats instead of from ducts hanging overhead.
The HVAC system is configured to provide the seating bowl, locker rooms, and player and coach areas with 100% outside air, creating a clean indoor air quality environment and limiting energy use by taking advantage of Southern California’s pleasant climate. Such forward-thinking design earned the facility a LEED Platinum certification, the highest sustainability rating from the U.S. Green Building Council.
“With only 30 NBA teams to go around, any new arena within the league provides a once-in-a-generation opportunity to make a bold statement. One of the major goals of this project was to raise the bar when it comes to the level of amenities
at a sports facility to ensure memorable experiences for millions of fans for decades to come,” said Eric Taylor, senior mechanical engineer at Henderson Engineers. “The owner and design teams collectively also wanted to push the boundaries of how to sustainably build and operate an arena, and we were intentional about Intuit Dome being a net positive for the environment and a shining example for other sports venues in the future.”
Resource conservation also played a key part in how Henderson Engineers approached the project. Intuit Dome’s cooling towers use 100% reclaimed water and are equipped with a water treatment system that maximizes water reuse. As a result, the facility’s cooling towers use 40% less water than traditional cooling towers.
“California has been prone to droughts during the past decade, so water conservation was top of mind across the entire project as climate change continues to be a challenge,” explained Taylor. “Your typical cooling tower cycles water a couple of times before evaporation and sediment get in the way. The make-up water treatment system is basically a water softener that treats the reclaimed water and allows us to recycle it up to 20 times. This level of efficiency is a great example of the lengths this project has taken to operate as sustainably as possible.”
In addition to mechanical, Henderson Engineers provided fire and life safety design services for the project. Thirty percent of its scope was in collaboration with PBS Engineers, an L.A. area firm. The design team also included AECOM, Anderson Barker Architects, City Design Studio, Hood Design Studio, Labib Funk & Associates, S20 Consultants, and Walter P. Moore. AECOM Hunt was the general contractor and Turner Construction served as the construction manager.
Intuit Dome is the second multibillion-dollar sports venue Henderson Engineers has completed in the L.A. region in the past five years. The company also worked on SoFi Stadium, home of the NFL’s Los Angeles Rams and Los Angeles Chargers.
DAKTRONICS
The newly-unveiled Intuit Dome, home to the Los Angeles Clippers, has set a new standard for arena technology, anchored by the revolutionary Halo Board from Daktronics. This centerpiece, paired with over 120 LED displays covering 52,000 square feet, offers an unparalleled visual experience for fans and visitors alike. Here, we explore the scale, technology, and impact of this cutting-edge display system.
The Largest Double-Sided Halo Board Ever Built
The Halo Board is the largest double-sided arena halo board in the world, spanning a staggering 38,000 square feet—nearly
an acre. With 233 million LEDs delivering 4K HDR content, the board comprises 56,898 LED modules housed within 14,035 cabinets. Its innovative design includes inner and outer rings with dimensions that rival the tallest buildings and longest landmarks. The inner ring features a resolution of 2,496 x 48,512 pixels, while the outer ring measures 2,176 x 51,456 pixels. To put it in perspective, the Halo Board’s surface area could cover the Hollywood sign 3.5 times over and is 13.5 times the length of a basketball court.
Engineering Marvels
Beyond its sheer size, the Halo Board is a triumph of engineering. Two massive hoisted ends, each 60 feet wide, support 110,000 pounds—nearly double the weight of a standard center-hung basketball arena system. These structures ensure the board’s stability, while enhancing the immersive viewing experience.
The design and installation of the Halo required meticulous planning and coordination. Starting with the first crane pick in April 2023, Daktronics completed the installation of the LED sub-frames and conduits by June 2023, followed by the
LED components’ integration in October 2023. By March 2024, the system underwent comprehensive testing and commissioning, culminating in its full activation.
A Spectacular System of Displays
The Halo Board is complemented by a comprehensive suite of Daktronics displays throughout the Intuit Dome. Key features include the likes of: Ribbon Displays: Stretching 683 feet, these displays keep fans engaged with real-time stats and updates. Lobby and Plaza Displays: Massive screens such as the 21’
x 190’ lobby display and the 40’ x 70’ plaza court display provide dynamic content to visitors upon entry.
• Locker Room and Practice Court Displays: High-resolution displays, including a 7’ x 12’ screen in the interview room and multiple 9’ x 16’ screens in practice areas, deliver critical visuals for teams and media.
• Wayfinding and Marquee Pylons: Thirty-two parking garage displays and four marquee pylons ensure visitors navigate the venue effortlessly.
Altogether, these displays transform the Intuit Dome into a state-of-the-art hub for entertainment and sports.
Technology and Control
Daktronics Show Control media players and software orchestrate all displays within the Intuit Dome. This robust system allows seamless integration of live game feeds, animations, advertisements, and real-time data, ensuring a flawless presentation. The Halo alone is equivalent to 28 4K displays, providing unmatched clarity and detail from every angle in the arena.
A Vision for the Future
Gillian Zucker, CEO of Halo Sports & Entertainment, aptly described the vision behind the Halo Board: “For the screen itself, we went to South Dakota, where Daktronics sets the standard.” This project epitomises the fusion of bold vision and technological innovation, setting the stage for unforgettable fan experiences.
The Daktronics Halo Board and its accompanying display system stand as a testament to what’s possible when cuttingedge technology meets ambitious design. From the court to the concourse, the Intuit Dome redefines the fan experience, making it a beacon of modern sports and entertainment arenas.
WJHW began work on Intuit Dome, what was originally called “IBEC” (Inglewood Basketball and Entertainment Center), in late 2018. WJHW joined the AECOM team, continuing the incredible history of projects between the two companies, dating back to the early 1990s. From the start, Steve Balmer’s vision was the key driver to create a home for a team that had not had its own venue since leaving San Diego for LA. Design direction was focused around cultivating a growing and fervent fanbase with features like “The Wall” an uninterrupted 50+ rows of seats where the bottom rows requiring fan vetting prior to selling tickets to ensure they are the most vocal and supportive fans. Every step of the way, the focus and intent were on creating a venue to rival the most significant sports venues and to ensure a long term home for the franchise.
A marquee piece is, of course, the Halo scoreboard, replacing a conventional center hung assembly with nearly 40,000 square feet of doubled sided LED above the perimeter of the court. WJHW brought its experience in design for the largest, most complex LED displays in sports to the table to ensure a successful execution of the vision. Initial renderings of the board had Mr. Ballmer exclaiming “make it bigger!”. Of course, a video display of that size and capability requires a significant, complex, fully 4k (production and displays) video production system to drive content, entertainment, and revenue generation seamlessly and flexibly - and WJHW thoroughly detailed and oversaw the execution of this behind the scenes. The size and location of the Halo also required an out-of-the-box design solution for the seating bowl sound system.
Every inch of the venue was carefully planned to encourage fans to get to and from their seats as quickly as possible, to be involved in the game. This includes a total commitment for frictionless transactions for concessions and merchandise, leading to a significant deployment of high throughput, high density Wi-Fi. These initiatives required a high-performing.
high-availability network with infrastructure planned to support the next 20 years of innovation. WJHW was proud to be trusted to provide our design and construction oversight across every service we offer from Acoustics and AV, to IPTV, ICT, and security and access control.
“We can imagine how proud the Clippers organisation is to call Intuit Dome home, and we are proud to have played our part in an absolutely amazing venue,” said Charles Adkinson, Senior Vice President of Global Sports Development. Partnering with AECOM, the lead designer, and Turner Construction, Clair Global Integration (CGI) was brought on board to craft and install cutting-edge technical systems for the Intuit Dome, a groundbreaking basketball arena that serves as the new home for the LA Clippers.
The state-of-the-art $2 billion venue, with a seating capacity of 18,000, announced Clair Global’s touring client, Bruno Mars, as its inaugural performer. This collaboration uniquely connected Clair’s rental and installation divisions for the arena’s first live event in Inglewood, California.
“The great thing about the LA Clippers is their dedication to the fans — as an organization they wanted this facility to engage sports and music fans instantly,” said Demetrius Palavos, CGI’s VP of Sports Integration. “Steve Ballmer, LA Clippers Chairman, has a background in powerful technology and understands perfectly how it can become a lever to meaningfully interact with patrons.”
Ballmer’s commitment to creating a vibrant new home for the Clippers was evident throughout the project. During construction, he stated, “You all, fans and players together deserve the ultimate home court. You’re going to have it and you’re going to have it here in Inglewood.”
Echoing Ballmer’s vision, Gillian Zucker, LA Clippers President of Business Operations, said, “Intuit Dome is the ultimate manifestation of Steve’s vision, everything a basketball arena, a concert venue, and a community center should be.”
WJHW | CLAIR GLOBAL | JBL PRO | Q-SYS | CISCO
TRANSFORMING IDEAS INTO DESIGN. THOROUGHLY.
WJHW, technology infrastructure design experts, collaborates with its clients to create innovative and practical solutions for new builds, renovations, and technology upgrades, ensuring future-proofed, costefficient, and enhanced fan experiences.
With 30+ years of experience designing technology solutions for some of the world’s most complex and technologically advanced venues and places in the USA and globally, WJHW is trusted by major sports and entertainment brands, leagues, and partners.
WJHW’s strength lies in its team’s diverse technical and operational skills, vast experience from thousands of successful projects, and commitment to excellence, making it the ideal partner to transform your ideas into technical reality. Thoroughly.
FEATURED PROJECT: SoFi STADIUM LOS ANGELES
To bring this ambitious project to life, CGI executed an extensive scope of work, which included installing the main JBL Professional bowl sound system, Q-SYS networking systems in club spaces, practice courts, and locker rooms, integrating NEAT solutions for conference rooms, and implementing national and in-house ENG broadcast cable plant and distribution. Additional systems included CISCO IPTV and AV-over-IP solutions.
Emphasizing the fan experience, CGI integrated ADA (American Disabilities Act) panels for visually impaired fans in club spaces and suites. “We’re a creative engineering company; we solve beyond audio and video,” said Palavos.
“In conjunction with Storm LED panels, we created our own back-end software that interfaces with Q-SYS. In every suite and club space, we have an ADA panel that connects with a Q-SYS touch panel. The ADA panel mimics the touch panel buttons, allowing anyone with a sight loss disability to control the sound and TVs for that area.”
The visual experience was elevated through the use of CISCO VisionEdge IPTV systems with BrightSign media players installed across suites, clubs, offices, and media spaces. Q-SYS Control Engines managed display control, while touch-enabled displays utilized Wipro VisionEdge-Go, an adjacent application leveraging VisionEdge.
The arena also features innovative production facilities, including a massive ‘halo’ video screen suspended above the seating. This unique design posed challenges for audio coverage, which CGI addressed with a strategic sound system design. Under CGI’s audio scope, and working with AV Consultants and Technical Designers, WJHW, the team developed an inner ring of eight loudspeaker clusters to cover the lower bowl, while a significant number of smaller line arrays cover the outer edge of the halo.
“We collaborated with AV Consultant and Technical Designer Greg Swindle of WJHW to finalise the cluster configuration and precise box angles. Ensuring we avoided reflections off the back of the LED video screen was critical,” Palavos explained. “Our role at Clair Global Integration is to make the technology work seamlessly from the moment the doors open.”
The JBL speaker setup includes VTX A12’s for the centre and
VTX A8’s for outer delays, supplemented by PD500 largeformat loudspeakers for upper delay fills.
“From construction to production, we prioritize delivering a premier audience experience, whether on the road or in integration scenarios for music, sports, or themed entertainment,” Palavos added. “Using cutting-edge technology, we create experiences that draw people back again and again.”
For Bruno Mars’ opening concerts, held over two nights, CGI worked with his touring team, led by Systems Engineer Matt McQuaid, to augment the fixed audio setup with a concert-grade L-Acoustics K Series touring rig. Clair Global provided main hangs of K1 and K2, KS28 flown subs, K1 and K2 for side hangs, K2 rear hangs, ground subs with additional KS28 cabinets, and A10 and A15 speakers for frontfill reinforcement. The system was powered by 64 LA12X amplifiers.
“This was a highly collaborative process within Clair,” said Robert Drewes, Clair Global Account Executive for Bruno Mars. “The combined efforts of construction teams, architects, designers, and venue ownership ensured that this building is truly exceptional.”
Matt McQuaid reflected on the collaboration: “The Clippers organization went above and beyond to make our tour audio team feel comfortable being the first show in the building.
Early access to conduct site visits and test the touring PA system made all the difference.”
He added, “The halo presented a unique challenge for a touring systems engineer. With a standard end-stage position, covering the upper corners of the bowl can be difficult. Leveraging the house system to seamlessly reinforce these areas was a key focus for us.”
The concerts, which featured a surprise appearance by Lady Gaga for a duet of “Die with a Smile,” received rave reviews.
Billboard praised Bruno Mars as a “once-in-a-lifetime performer,” with his talents on full display.
Reflecting on the experience, McQuaid concluded, “The energy in the building was palpable. Seeing the fans’ excitement in this incredible new venue made all the hard work worthwhile.”
PIXMOB
What makes the seating technology at Intuit Dome so innovative is its ability to transform the typically dark space of the crowd into a vibrant canvas of light. Collaborating with Dreamseat and PixMob to merge comfort and fan experience, the Intuit Dome leverages this new dimension of audience participation to create an atmosphere where fans feel intrinsically linked to the event.
PixMob’s NOVA Armrest is a powerfully-bright LED installation technology that is integrated directly into each arena seat. This vibrant LED turns every seat in the house into an interactive pixel of light, turning the arena into one giant canvas of live effects that super charge every moment of the game or show.
The armrests include four-button game controllers and eyesafe LED laser pointers, to let fans engage in live Halo Board competitions like predictive guessing games, trivia, and other challenges. As fans get eliminated, their LED lights go dark, and the last fan with their light still shining wins, so the whole arena knows who they are.
The NOVA Armrest is designed to seamlessly integrate into every seat, featuring customisable lighting effects that can synchronise with music, game highlights, and on-court action, as well as to the cheers and reactions of the crowd. Whether waves of team colours crash across the venue during player introductions, or numbers count down in real time across the crowd, the NOVA Armrest turns passive spectators into active participants.
“Seeing the stadium fully light up for the first time was nothing short of breathtaking. It was a proud moment to witness our vision come to life, showcasing the potential of immersive technology in sports entertainment,” said Annick
Ferland, Project Manager, PixMob.
Additionally, each seat includes USB charging ports for mobile devices, so no fan has to worry about missing those unforgettable moments. An NFC reader within each armrest connects fans to event, venue, and sponsor content, landing pages, and apps. The clippers also integrated a custom button feature, which allows fans to vote and interact with in-game entertainment, contests, and other fan-focused moments.
The Intuit Dome’s development involved a collaborative effort among key players in the industry, ensuring that every element worked in harmony. From advanced data systems to integrated technology, the arena has been strategically designed to maximize every element of the fan experience.
“We always want to make PixMob’s immersive activations feel like magic, you don’t know it’s right in front of you.
When the venue lights up it makes the moment unexpected, that’s shared with others around you, a unique in-venue emotion we call ‘collective joy,” added J-O Dalphond, Partner and Chief Commercial Officer, PixMob
The NOVA Armrest is part of the future of live experiences that both the PixMob team, and other key players in entertainment, are striving towards. Live events continue to evolve toward immersive storytelling, as well as sustainable solutions, with venues aiming to reduce the resources required to power the fan experience. The NOVA Armrest was designed to achieve this, creating a permanent, foreveruse LED installation that enables endless immersion, and experiences that last a lifetime without leaving an impact.
The future of live entertainment is here, and it shines brightly in Inglewood, California.
Specialists for real-time video manipulation and 3D mapping
Hippotizer at core of immersive installation at Bieszczady Cultural Heritage Center
Sixty million pixels of content is being driven to 18x projectors and three LED screens as part of an immersive installation at Poland’s Bieszczady Cultural Heritage Center, with Hippotizer Boreal+ MK2 Media Servers at the core of the visuals. More than 200GB of animated graphics are being handled by the Boreal+ MK2s in a show designed to educate, inform and entertain.
Fira de Barcelona | Gran Vía
4 - 7 Feb 2025
AS CLOSE TO TIME TRAVEL AS YOU’LL GET
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UBER ARENA
Berlin, Germany
Images: Trison, L-Acoustics
he Uber Arena in Berlin, a premier venue for sports and entertainment, recently underwent a remarkable technological upgrade, setting a new standard for immersive guest experiences. The ambitious project was spearheaded by TRISON, a global leader in digital signage integration, in partnership with Samsung.
The outcome is a state-of-the-art digital experience that promises to captivate audiences while ensuring durability and functionality for years to come.
“The project came about through a tender in Germany, and we were invited to participate,” said Martin Orr, Business Development Manager at TRISON. “After reviewing it, we decided to bid with Samsung as our technology partner for the project.”
Time was a critical factor for the Uber Arena upgrade. The project needed to be completed within a mere four weeks, with the system fully operational by August 27. This left no
room for error as the TRISON team dismantled the 17-yearold system and installed cutting-edge Samsung LED displays.
“One of the key aspects Martin highlighted was the incredibly short timeframe for this project. The implementation schedule was tight, and meeting the deadline was critical for everyone involved,” explained Peter Critchley, UK CEO of TRISON. “It was a very quick, efficient process, requiring long hours and a lot of dedication, but we got it done.”
The complexities of the project extended beyond tight schedules. The arena’s design posed logistical challenges that required innovative solutions. “Due to the depth of the stands within the venue, we couldn’t use cherry pickers or lifters, so we had to rely on scaffolding instead,” Martin added. “It was a complex and challenging process – the scale of the work involved was vast, but we were determined to make it happen.”
The new systems installed by TRISON included a 310-meter
fascia board and a 36-meter LED ribbon, both featuring advanced Samsung technology. The fascia board offers a 10mm pixel pitch (P10), while the LED ribbon boasts a 5.9mm pixel pitch (P5.9). With a brightness of 2,000 nits, these systems are optimised for outdoor use and are resilient enough to withstand the high humidity and fluctuating temperatures.
“This is particularly important for the arena, as it regularly hosts ice hockey games, creating a challenging environment,” Martin noted. “The IP66 rating ensures the system is rocksolid and capable of withstanding these conditions.”
TRISON’s team installed Samsung’s XHB-F and ISC LED cabinets, paired with a proprietary control system, ensuring seamless integration. “This was a unique aspect of the project, as most systems typically rely on NovaStar controllers. Using Samsung’s system ensured seamless integration,” said Martin.
TRISON’s approach to the Uber Arena project went beyond hardware installation.
“Within our organisation, we have studios in London, Paris, and Spain, with plans to expand to North America soon,” said Peter. “These studios enable us to create content examples and visualisations, showcasing not just what we’re delivering today, but where the technology can go in the future.”
“A key focus is often gamification—how to create moments of engagement and genuine interactivity within the physical space,” Peter explained. “These moments don’t just enhance the guest experience; they also help extend the reach of the venue and its associated brands.”
From a broader perspective, the project was rooted in innovation. They already had a fully functional control room for managing match days and concerts, and the task for TRISON was to adapt and elevate this with the new technology and software.
TRISON’s success with the Uber Arena project underscores its position as a global leader in digital transformation for venues. With operations spanning Europe, the UK, and beyond, the company delivers comprehensive solutions that combine hardware, content creation, and support services.
“At TRISON, we deliver a comprehensive, end-to-end solution: a 360-degree approach that includes consultation, gamification, content creation, hardware installation, service, technical drawings, and static calculations,” Peter emphasised. “Everything comes from one source; there are no third parties involved.”
“The future of venues lies in creating immersive, engaging, and highly relevant spaces,” Peter added. “As the market evolves over the next five to ten years, these spaces will need to go beyond technology and focus on the experiences they provide.”
The team at Uber Arena has expressed immense satisfaction with the new system, particularly with the improvements in resolution and brightness. The upgraded displays offer three times the resolution of the old system, significantly
enhancing the visual experience for visitors. Further still, long-term reliability is secured with vandalism-proof top covers ensuring durability and stability.
“One other key feature worth mentioning is that it’s a topservice LED product—this allows for easier maintenance and access, which is a big advantage for the venue,” said Martin “The new system is much brighter. As you’d expect, the old screen, after 17 or 18 years, had lost a lot of its brightness and functionality. The new installation is fully functional and rock-solid.”
With the Uber Arena project complete, TRISON has once again demonstrated its ability to deliver transformative solutions under challenging conditions. As the company continues to expand its expertise and reach, it remains at the forefront of shaping the future of sports and entertainment venues worldwide.
L-ACOUSTICS
The Berlin venue sounds better than ever, too, thanks toa cutting-edge L-Acoustics L2 professional sound system –the first sports facility L Series installation in the world.
Home to the Eisbären Berlin ice hockey team and Alba Berlin basketball club, this 17,000-seat multipurpose venue hosts up to 180 events annually, ranging from championship games to chart-topping concerts. The venue has hosted acts such as Metallica, Coldplay, Barbra Streisand, U2, and Foo Fighters, and high-profile events including the Euroleague Final Four, NBA and NHL games, the European Men’s Basketball Championship, the IHF Handball World Championship, and the MTV Europe Music Awards.
“Our previous system, installed in 2008, had served us well but was no longer meeting the demands of today’s events,” said Sebastian Rossman, Director of Venue Operations at AEG, who manages the arena. “We needed a solution that could deliver crystal-clear sound for both sports fans and music lovers while also adapting to the 30 different configurations
that our venue calls on to meet the demands of the diverse events that we host.”
To tackle this challenge, Sebastian enlisted the expertise of consultants MMT Network and long-term arena sound partners PAM Events. After rigorous systems testing from four different manufacturers, the L-Acoustics L2 emerged as the clear winner.
Felix Maiworm, Project Engineer at MMT Network, explained why the L2 system stood out: “We faced unique challenges, including the need for uniform, long-term 99dB SPL across all seats and managing the venue’s complex acoustics. The cardioid pattern of L Series proved crucial in controlling lower frequencies and taming the hall’s reverberant field.”
The new setup features five hangs of L2 speakers, two facing south, and one each facing north, east, and west. Eight X8 delay fills are used for the VIP restaurant and six X12 are placed underneath the video cube. The sound system is powered by L-Acoustics amplified controllers and managed
by their processors. This configuration ensures optimal coverage for every seat in the house, whether it’s for a highstakes hockey match or a sold-out rock concert.
“The L2 upgrade provides unparalleled flexibility,” said Thomas Moritz, CEO of PAM Events. “We can now create delay lines for concerts and deliver exceptional sound for sports events, meeting all our diverse needs across all possible configurations.”
The compact design of the L Series also addressed the arena’s physical constraints, allowing for shorter hangs that don’t interfere with sightlines or the venue’s elaborate roof structure. This aspect is particularly beneficial for the arena’s frequent transitions between sports and concert setups and means the system can be lifted and parked up above the main grid when the system is not in use.
The coverage of the system, which is significantly different between basketball and ice hockey, can be easily adjusted by using the FIR Autofilter algorithm in LA Network Manager, there is no need for mechanical adjustments, which saves cost of labour and time.
“The success of this project is a testament to the seamless cooperation between L-Acoustics, PAM Events, MMT Network and our team at Uber Arena,” Sebastian added. “Everyone involved was committed to achieving the best possible outcome for our fans and performers.”
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 effects capabilities create unforgettable experiences for players and fans alike.
SCAN HERE to learn more about the Wembley Stadium project or visit
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AUDIO
VENUE FOCUS
060 Scotiabank Arena | Toronto, Canada
066 Propst Arena | Huntsville, USA
072 Wiener Stadthalle | Vienna, Austria
VIDEO
076 CO’Met Arena | Orléans, France
PROJECTION
080 New Administrative Capital Stadium | NAC, Egypt
086 Delta Center & Honda Center | Salt Lake City & Anaheim, USA
SCOTIABANK ARENA
Toronto, Canada
Images: Neal Burstyn, ntbCreative
Scotiabank Arena, one of Canada’s leading sports and entertainment venues, has unveiled a major upgrade to its audio experience with a Meyer Sound PANTHER™ system. Designed to offer exceptional clarity and immersive sound, this installation is set to redefine what it means to experience a game or concert at the arena.
When Scotiabank Arena kicked off its sonic upgrade in 2022, it had a clear vision for trusted supplier Aligned Vision Group (AV Group) of Toronto. “We pride ourselves on delivering a best-in-class experience for our fans in every part of their journey at Scotiabank Arena,” says Maple Leaf Sports & Entertainment’s Director of Venue Technology, Tyler Rowe. “So a premium audio experience in our venue is critical. Audio is an important aspect of bringing a high-energy experience to our fans in the arena and really draws them to a live experience.”
The design was originated by Engineering Harmonics’ Senior Consultant, Partner and Head of Design Martin Van Dijk,
in coordination with Ian Robertson, manager of technical services & industry training specialist at GerrAudio, Meyer Sound’s Canadian distributor. The new system seamlessly supports hockey, basketball, and concerts while offering immersive audio capabilities.
Increasingly, sports venues are investing in immersive entertainment as a key driver of that thrilling in-person experience fans just can’t get at home. “You can celebrate here with tens of thousands of other fans that are here to enjoy the moment,” Rowe continues. “And a premium audio experience really helps elevate those moments.”
“Hockey arenas in general are challenging acoustically,” says AV Group partner Andrew Foord. “We have to be very careful about where arrays are pointed and where we’re putting sound in the building to avoid creating too many reflections. The very well-controlled pattern of the PANTHER cabinets gives us the ability to do that.”
“In basketball, we have extended seating that comes out onto the floor, onto the ice surface,” explains Robertson.
“In hockey, we don’t want that coverage on the ice, but for basketball, it’s required. We’re using a portion of those speaker arrays to cover the extended audience area for basketball behind the nets on the east and west ends.” For concerts, parts of the system are used for reinforcement in areas that present coverage challenges for touring PAs, due to the building’s complex geometry.
The new Meyer Sound system includes eight main arrays of 13 PANTHER loudspeakers in a mix of wide and narrowcoverage models, four cardioid arrays of 2100-LFC™ low-frequency control elements, and 26 fills, including ULTRA-X40™ compact loudspeakers and UPQ™ full-size loudspeakers in upper bowl corners, gondola suites, and end zones. Two arrays of nine LEOPARD® compact line array loudspeakers serve as ice fills. The entire system is driven by Galileo® GALAXY 816 and 408 Network Platforms and runs on a Milan AVB network, and provides immersive audio capabilities with the Spacemap® Go spatial sound design and mixing tool.
“The placement of the corner arrays and the curved geometry of the arena was ideally suited for the PANTHER-Ws at the top to extend the coverage along the uppermost seats,” explains Bob McCarthy, Meyer Sound’s director of system optimization. “The subwoofers have nine going into the long ends of the arena and then five going into the short ends to give you very uniform coverage.” One UPQ directs sound into the mix area.
Josh Dorn-Fehrmann, Meyer Sound’s senior technical support specialist, highlights the flexibility of system presets: “The drive system utilizes the GALAXY platform, which allows Scotiabank Arena to change the way it uses this room. It can configure the system for basketball and use certain LEOPARD fills for music and warm-ups. They can turn different speakers on and off depending on whether the hockey boards are in or out. It allows them to use the system in very unique ways, very quickly.”
Because the system is self-powered, the team was able to remove 60 amplifiers from the previous install from upper
catwalks and redistribute weight more evenly across the grid. “Meyer Sound PANTHER is the most powerful, loudest box that they make right now,” says AV Group Partner Guy Wallace. “It’s also significantly lighter than comparable boxes. So we were able to put a lot of PA into this facility without adding significant weight load…not to mention the pristine sound and excellent coverage we get out of these boxes.”
From all accounts, the sonic improvement is a game changer, says Rowe. “What we’ve heard so far is really exciting. It’s an experience that has been missing in this venue for some time. And I’m really thrilled for our engineers and our operators to really have a sense of pride of ownership in being able to put this Meyer Sound product forward.”
“We are beyond excited to be a part of this project,” says Peter Snelgrove, GerrAudio’s VP and director of marketing & operations. “To have this venue, that houses two top-level teams, equipped with a Meyer Sound system that will be heard and experienced by all fans—we couldn’t be prouder or more excited for game day.”
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PROPST ARENA
Huntsville, USA
Images: EAW
When officials at the Von Braun Center, located in the heart of historic downtown Huntsville, Alabama approved a transformative renovation project at the multi-purpose facility, the task of installing a new audio system was awarded to Verta Technologies, a pioneering force in audiovisual solutions. Spearheaded by Christian Tuttle, Principal and CEO of Verta Technologies, the company selected a state-of-theart ADAPTive audio system from Eastern Acoustic Works (EAW®), a leader in professional audio solutions, to deliver an unparalleled auditory experience.
The Von Braun Center has undergone extensive renovations over the past two years and sought a comprehensive update for its aging audio system at the 10,000-seat Propst Arena, home to the Southern Professional Hockey League’s Huntsville Havoc. This is in addition to EAW ADAPTive being deployed in the 1,300-capacity Mars Music Hall and the 2,000-seat Mark C. Smith Concert Hall, showcasing the flexibility and range of EAW’s ADAPTive products. While
Propst Arena is primarily used for hockey, all three of the Von Braun Center’s venues can host touring productions of any scale.
“It’s impressive to see ADAPTive present in both smaller music halls and large-scale arenas, demonstrating its versatility across various venues,” says Tuttle. “The Von Braun Center now boasts one of the largest permanent installations of EAW ADAPTive under one roof in the world, showcasing the versatility of the technology across different venues on the campus.”
With a looming hockey season and a tight project completion timeline, Verta Technologies executed a rush project for the arena, receiving the purchase order in July and completing the installation with a week to spare before the first hockey game in mid-October. EAW’s ability to deliver products in a very timely fashion and also have a technical support member onsite to support the commissioning of the system was crucial to meet the pressing deadline.
After extensive research, The Von Braun Center chose the
EAW ADAPTive system for the arena, with Anya chosen for the main speakers to meet the venue’s specific aesthetic, as well as electro-acoustic requirements. The space offers a unique “hub-and-spoke” ceiling structure, where the primary load bearing beams meet in the center compared to the typical rectangular grid structure in most arenas. Considering this, the installation included a range of hangs, with the shortest being three-boxes all the way up to sevenboxes – for a total of 12 clusters around the bowl. Each configuration leverages ADAPTive’s ability to easily expand horizontal coverage by simply adding another column to the array. Otto subs are centrally located in the hub providing seamless horizontal coverage of the sub band, EAW QX 566 speakers for ice fills, and a QSC Q-Sys backbone for DSP and control completed the comprehensive audio solution. The height of the space is a significant challenge for the majority of today’s line array technologies. As Tuttle explains, “from ice to steel is only 65-feet, so it’s not a high arena structure,” which would create a considerable obstacle for many of today’s articulated arrays. EAW ADAPTive arrays meet these needs with flying colors by being able to cover an expansive vertical geometry with very short arrays.
“Using EAW’s Resolution software, we were able to steer the audio precisely to the audience from the first row all the way to the back row, so that every seat sounds exactly the same, from a frequency standpoint,” adds Tuttle. “We could also expand the horizontal coverage from a single rigging location. A lot of people don’t realize how difficult it is to get smooth SPL throughout a space, and this is a huge range of multi-tiered seats. The EAW ADAPTive system ensures everyone in the venue gets the same experience.”
The Mars Music Hall and Mark C. Smith Concert Hall house both EAW Anna and Anya systems as well as Otto Subwoofers. The Concert Hall will soon feature its AC6 Column Loudspeakers.
Doug Collingsworth, design engineer and production manager at the Von Braun Center, who was integral to the project from the beginning, expressed his satisfaction with the outcome. “It’s always satisfying when the naysayers leave with a smile on their face,” adds Collingsworth. “The decision to go with EAW was an excellent one. The system sounds great.”
EAW’s QX loudspeaker elevates the game day experience for fans. Designed for venues that require high power and consistent coverage in a low-profile form, QX is the ideal choice for a stadium’s distributed sound system.
Major League Baseball teams such as the Atlanta Braves, Boston Redsox, St. Louis Cardinals, Toronto Blue Jays and the Washington Nationals deliver superior audio clarity in their stadiums with the QX Series. These speakers are geared toward medium-to-large-sized spaces like stadiums and arenas, providing line array control and output in a point source package.
No matter your sport or your team, QX helps you take control of your sound. Learn more at https://eaw.com
WIENER STADTHALLE
Vienna, Austria
The Wiener Stadthalle is Austria’s largest events complex. Opened in the late 1950s and located in Vienna’s 15th District, the iconic venue has hosted leading international stars for decades, and can be justifiably regarded as one of Europe’s premier entertainment venues.
To maintain its position as a front-rank venue, the hall’s management team keeps its technology provision under careful review and recently decided to invest in a new audio system. In order to ensure that they chose exactly the right fit, the team invited four leading loudspeaker manufacturers to present their offerings in a comparative test. After a rigorous shoot-out, the Stadthalle team selected a CODA Audio system. System integrator Audio-Integra of Munich won the contract for the installation, whilst Wilhelm and Willhalm Consulting and Sales GmbH (W&W), also based near Munich, oversaw the project, conducted simulations, and provided the most suitable CODA products based on the results.
Christoph Mader, Head of Sound at Wiener Stadthalle describes the shootout: “We didn’t want to rely solely on our ears, so we engaged a renowned acoustician to obtain objective measurements. CODA Audio performed flawlessly, with a linear frequency response and better dynamics and impulse accuracy than the competitor brands.”
When the listeners subjective assessments were taken into account, the outcome was even clearer according to Christoph:
“My four colleagues and I, with varying ages and levels of experience all independently awarded CODA the highest scores by a wide margin.”
The system at the Stadthalle was based on CODA Audio’s very latest CiRAY compact line array, a high-output 3-way dual 10-inch line array. The venue invested in 24 x CiRAY units, complemented by 4 x SC2-F sensor-controlled bass
Images: CODA Audio, BMKÖS
extensions, 4 x SCP sensor controlled subwoofers, 3 x APS compact arrayable point source, 5 x N-APS ultra-compact arrayable point source, and 8 x CUE FOUR high performance 3-way stage monitors. 4 x CODA Audio LINUS14 and 5 x LINUS12C DSP amplifiers power the system.
The system was designed by Thomas Dürrbeck from W&W, who was involved in the project from the outset. He was more than confident that the high standards demanded at the Wiener Stadthalle would be comfortably met using CiRAY. He comments:
“The acoustician mentioned that the system offers an extraordinary phase alignment and provides a very uniform sound across the entire audience area. Another advantage is that the system operates efficiently with minimal amplifier power - three loudspeakers per channel on each array. For me, the decisive factor is that the system delivers a balanced sound without electronic assistance, purely through the design of the components.”
Audio-Integra’s Christian zur-Loye was delighted to have been commissioned for the installation, and remarks on the collegiate approach to completing the project with great efficiency:
“It was a tight schedule over the summer, but thanks to effective communication between client, integrator, supplier and manufacturer, I was able to complete the project ahead of schedule.”
Although the primary function of the system at the Stadthalle would be to service the wide variety of entertainment taking place in the venue’s Hall F, the management team also required that the system could be deployed in other halls within the complex as required. CODA Audio’s flexibility and ease of handling made this easily possible. Christoph described the benefits:
“We are able to set up and take down easily, the system is very flexible and energy efficient, and the fact that the units
are so compact means that sightlines are not comprised when events are broadcast for television. CODA Audio scores top marks in every respect!”
The system made its debut in Hall F for ‘Flying Hansel & Gretel’, a high energy music and dance show which featured rappers, beatboxers, pianists and electronic sounds - a challenging setup as Christopher explains: “Honestly I was quite nervous for the premiere but everything went brilliantly. It was very demanding - the music ranged from hip-hop to classical with some samples as low as 28 Hz in the bass range. We stood there, looked at each other and just smiled because it sounded so good.”
The system’s qualities were then further tested in Hall D, the largest in the complex, at the ‘Erste Bank Open’ ATP Tennis tournament, where it was used in a different configuration to cover the 8000 seats. With sight-lines critical for TV broadcast, the compact CODA units more than proved their worth.
“This was the ultimate flexibility moment” commented Christoph, “we realised we could also use the system very effectively for arena sound coverage. The CiRAY provides huge output with extremely clean resolution, and the bass is punchy and precise.”
Global Sales and Marketing Director for CODA Audio, David Webster, is delighted to see CiRAY chosen for the Stadthalle:
“It’s fantastic to see a CODA Audio system chosen for such a prestigious project - it means a lot to us to see such a strong vindication of the quality of our pioneering proprietary technologies. To have led the way in the shoot-out ahead of a number of premium brands is something we’re naturally delighted about. As well as the audio quality, the compact nature of CODA systems, made possible by our technologies, was clearly a factor in our favour, as was the simple and intuitive rigging.”
The CiRAY Series is tailor-made to work perfectly for both installation and touring. CiRAY combines the high output of a large system with the flexibility of a compact system, redefining what is possible from a sound reinforcement solution.
www.codaaudio.com
CO’MET ARENA
Orléans, France
Images: VITEC
O’Met Arena is a newly opened event complex in the metropolis of Orléans, France. The venue is designed to host largescale international sporting, cultural and business events and features multiple spaces, including a four-hall exhibition centre, convention centre, and sports hall which can accommodate up to 10,000 people. When designing the new facility, the owners of the CO’Met Arena wanted to create a dynamic visual experience for visitors by installing HD digital signage across the site. The owners also wanted to ensure that networked video content could be managed and distributed efficiently to screens across the multiple venue spaces.
CThe CO’Met project had unique characteristics, including the need to manage the distribution of video content on many screens in the four halls of the exhibition centre, the convention centre, the sports centre and connecting halls throughout the venue. The project presented logistical and content management challenges, as each area needed the capability for content to be shown on the displays in the most appropriate way for each space. For example, visitor information and content from business events can be streamed to the breakout rooms on level two of the facility, while sporting events can be streamed live in the sports hall.
Given the large number of screens distributed in different locations and the distance between them (up to 15 minutes’ walk between two display areas), plus the subsequent constraints this adds in terms of both during event and everyday operation, the venue management team knew they needed to find the right partner. They were keen to find an integrator that could cope with these challenges, as well as ensure that installation could be carried out during the six-month construction phase.
The venue management team chose Manganelli Group, a Lille-based systems integration and digital signage expert. Manganelli had previously worked
together with VITEC on complex IPTV and digital signage projects at the Decathlon Arena in Lille (formerly the Pierre Mauroy Stadium) and the ParisLongchamp Racecourse. As a consequence, they understood that the VITEC range of encoders, servers and management software was a proven solution that could cope with the unique demands of the project. MTCE Consulting of Poitiers, France, was AV consultant on the project.
The client’s initial request was simple: to provide an excellent user experience for CO’Met visitors and to have technologies worthy of an ‘NBA-type’ arena. Driven by an innovative vision, the client sought to improve interaction with its audience through cutting edge digital signage and IPTV technology. For MTCE, the challenge was to transform this vision into reality. From the first sketches of the project, MTCE immersed itself in the client’s expectations and needs in terms of communication and functional requirements. After several meetings, they developed an exhaustive specification, reflecting both technical and functional needs, as well as locations for display end points. Each step, from design to the selection of service providers, was marked by a commitment to provide a first class service for the client. With the help of VITEC and Manganelli, MTCE were able to bring the client’s vision to life and create a captivating digital signage network, with strategically placed screens which guide, inform and entertain visitors. The ease-of-use of the solution allowed for seamless adoption by the enduser. The VITEC IPTV solution also added an extra dimension to the scheme by offering spectators in dressing rooms and hospitality areas the opportunity to follow events live via IPTV.
The VITEC solution has enabled CO’Met to achieve a number of benefits, including creating a dynamic visual experience to display, and manage, high-quality and engaging video content. This will help the venue to attract and retain visitors and can be used to educate and inform them. The energy efficient management and distribution of video content is also easy to use and update, which saves time and money, and helps to ensure that the content is always up-to-date.
“We have used the VITEC system on previous largescale projects so we knew it would be a good fit for the Co’Met Arena, commented Fabrice Leguay of Manganelli Technology. “VITEC has enabled us to create a dynamic and customised visual experience for visitors to the various event spaces while also creating an efficient and simple content management and delivery operation.”
The VITEC IPTV system has been a valuable asset to CO’Met and was successfully deployed for the first time when the French handball team played Egypt and won 27-23. The VITEC solution allows the complex to create an effective and engaging visual experience for visitors to its multiple event spaces and has improved content management and operational efficiency.
Patrick Gond, CO’Met Project Manager, Orléans Métropole said: “It’s a total success and an achievement that 100% corresponds to our expectations. Drawing on my personal knowledge of NBA Arenas in the USA, we wanted to reproduce a similar installation at CO’Met, with screens everywhere, to enrich the spectator experience and build loyalty. This is what we achieved with nearly 200 screens distributed in the boxes, common and sports areas. The system is widely used, including by food stand service providers.”
NEW ADMINISTRATIVE CAPITAL STADIUM
NAC, Egypt
Images: HiLights Group
There were 64 Digital Projection TITAN 37000 WUXGA laser projectors were at the heart of a 3D projection mapping show, which took place on 26 October at the newly constructed New Administrative Capital Stadium in Egypt. Nestled 30 miles east of Cairo, the stadium, aimed to be the centrepiece of the Olympic City, is the largest sports arena in Egypt and the second largest in Africa, seating 93,940 spectators.
For the show, HiLights Group installed an edge-to-edge 3D projection technique that integrated the stadium’s floor and walls, into a cohesive display. “The immersive visuals, achieved through meticulous planning and cutting-edge technology, brought a 3D experience to life in a way that had never been attempted in the region,” says Yara Mahran, senior digital marketing specialist at HiLights Group.
The project aimed to create an unforgettable experience that would use high-definition projection mapping to cover a massive area, captivating the spectators and transforming the space. HiLights Group was given the brief to create a visually enticing environment, and the team delivered it with a custom approach, utilising 64 high performance Digital Projection laser projectors.
“Our goal was to push the boundaries of visual immersion in a stadium setting. By transforming the space with high-definition, high-brightness visuals, we created an unforgettable experience that would engage the audience from every angle,” Mahran explains. She adds that the team’s mission was to set a new standard in immersive entertainment, showcasing the possibilities of event technology.
To achieve a true 3D effect, HiLights Group’s team utilised a 90° projection technique on a canvas of more than 12,000 sq. metres, utilising 64 Digital Projection TITAN 37000 WUXGA laser projectors, chosen for their high brightness and precision. The team carefully aligned the projectors to ensure depth and layering, Mahran explains: “By integrating custom 3D content and synchronisation animations, we created visuals that seemed to leap off the stadium’s surfaces, achieving the desired effect.”
The TITAN projectors were chosen not only for their precision but also for their reliability. The large canvas required a durable and precise laser projector that could deliver
consistent, high-resolution visuals across the stadium’s expansive area. “The TITAN’s brightness levels were pivotal in meeting the brief’s requirements for high-lux visuals on both the floor and walls, allowing us to deliver a vibrant and impactful display,” Mahran notes. Digital Projection TITAN Laser 37000 WUXGA, a bright and powerful 3-chip laser projector in a relatively compact chassis, makes an ideal projector for the most demanding and complex large-venue applications, where bright, pin sharp images are required, making it ideal for the stadium projection mapping show. Complementing the Digital Projection laser projectors were ten Dataton Watchpax60 media servers combined with
Olympic pixel manager, featuring 20,000 pixels and lighting fixtures from Vari-Lite and Robert Juliat. The technical team strategically positioned the stacked TITAN laser projectors in different corners of the stadium, maximising coverage and maintaining optimal throw distances to achieve a consistent 10mm pixel resolution. This ensured a smooth delivery of the content to the floor and the walls of the football stadium, with a brightness of 300 lux per square metre.
The content, created by Armoa Studios, included animations and colourful graphics specifically tailored to the stadium’s layout. It was crucial for HiLights Group that the visuals perfectly matched the technical layout in order to produce
a complete immersive experience that held the audience’s attention.
Mahran adds that the audience’s reaction and feedback was phenomenal, calling it “breathtaking” and “innovative.” She concludes: “This 3D projection mapping project sets a new benchmark for the future immersive events. The technical insights we gained here will influence our upcoming projects, enabling HiLights Group to continue breaking new ground in 3D projection mapping, all made possible thanks to the capabilities of Digital Projection TITAN projectors.”
DELTA CENTER | HONDA CENTER
Salt Lake City | Anaheim, USA
Quince Imaging has announced its partnership with the Utah Hockey Club and Utah Jazz, aimed at enhancing the fan experience at Delta Center for the upcoming 2024-25 season. This collaboration, led by Smith Entertainment Group, is part of a larger rebranding effort to establish a dynamic game-day atmosphere and set a new standard in sports entertainment. As a leader in immersive sports technology, Quince Imaging has installed a state-of-the-art projection mapping system at the Delta Center. Featuring 12 high-powered RGB laser projectors, the system delivers vivid, captivating graphics to fans in every seat of the arena. The integration of our proprietary Zelus real-time stats visualizer adds another layer of excitement by bringing dynamic player data onto the ice, enhancing fan engagement and connection to the
game. Quince Imaging’s technology integrates with the Delta Center’s existing AV system, scoreboard, and LED ribbon displays, delivering a cohesive and immersive visual experience for fans.
“Our goal for Utah was to team up and create something unique for their inaugural season, setting the tone for fan experiences moving forward,” said Eric Gazzillo, VP of Quince Imaging. “A new franchise is a rare opportunity, and a chance to truly raise the bar.”
Bringing Real-Time Data to Life
Quince Imaging’s proprietary Zelus real-time player and game stats visualizer brings live data directly to fans during hockey games, seamlessly integrating with in-game visuals. Utah is one of a growing number of teams using the latest
Images: Quince Imaging
features to elevate fan conversation by bringing in-game shot charts, heat maps and historical statistics straight to the ice. By incorporating these tools directly in the projection system, Utah’s production department can seamlessly integrate stats into the game day narrative alongside traditional 2D and 3D content.
Immersive Content for Utah’s New Identity
Quince Imaging worked closely with the Utah Hockey Club and Utah Jazz to create custom 3D content for the launch of the new projection system. For Utah’s hockey debut, Quince developed an immersive mountain-scape scene that showcases the team’s new identity while capturing the natural beauty of Salt Lake City.
Advanced Technology for a Multi-Sport Venue
Quince Imaging has provided a comprehensive upgrade to the Delta Center with cutting-edge projection mapping technology. The system is built around twelve Christie Griffyn 4k50s RGB laser projectors, delivering the brightest and most vibrant visuals in the league. Using Christie’s Mystique Pro Venue Edition, the projections are seamlessly calibrated to adapt to both ice hockey and basketball events.
To ensure smooth and dynamic displays, the media is driven by Pixera Media Servers, while the Zelus system manages live statistics and animations, keeping fans informed and engaged throughout the games.
“Our technology delivers a visual impact that captivates
fans from the moment they step into the arena,” said Eric Gazzillo, VP of Quince Imaging. “With real-time stats, advanced projection mapping, and immersive content, the Delta Center is now a leader in game-day entertainment.”
Shaping the Future of Fan Engagement in Utah
“Quince Imaging is honored to have played a role in establishing the fan experience for the Utah Hockey Club’s inaugural season,” said Eric Gazzillo. “Our mission is to help clients bring their vision to life. With experience working with over 40 different teams, we leverage our expertise and scale to deliver unforgettable fan experiences. What truly sets Quince apart is our commitment to installing the brightest, sharpest, and most durable systems in the league, ensuring long-lasting impact and top-tier performance for our clients.”
Quince Imaging has also partnered with the Anaheim Ducks to transform the fan experience for the 202425 season at Honda Center. This partnership merges Anaheim’s storied traditions with Quince’s state-of-the-art projection technology, delivering a fully immersive inarena atmosphere. As part of the team’s brand evolution, the Ducks proudly reintroduces their iconic logo in a bold, refreshed look, featuring vibrant orange accents in honor of Orange County’s roots. Supporting this vision, Quince has implemented a high-powered RGB laser projection mapping system within a comprehensive arena technology upgrade to captivate fans and elevate every home game-day.
JONES SPORT S
CREATE A CAPTIVATING EXPERIENC E
Jones Sports is a spec ial ty f ab r icator focused on si gnage, nam i ng ri ghts, sponsorshi p act i vat i on, and i conic arch i tectura l e l ements for s ports f ac il ities . We are proud to hav e done work in l egenda ry venues across North Amer i ca that l eave a memorab l e i mpression .
Technology Behind the Transformation Meeting Anaheim’s vision for a redefined fan experience, Quince Imaging deployed a turnkey projection mapping system equipped with 12 Christie Griffyn 4k50s RGB laser projectors and Mystique Pro Venue Edition software. This state-of-the-art setup, including an automated rigging system and 3D motion capture, brings a new dimension to game-day visuals. Additionally, Quince’s proprietary Zelus real-time stats visualizer integrates directly into the ice display, showcasing live player and game data, while Pixera Media Servers and Ross Ultrix FR1 deliver high-definition content with seamless control.
Bringing Real-Time Data to the Ice
Quince Imaging’s Zelus stats visualizer gives fans instant access to live game data, including shot charts, heat maps, and historical stats, enhancing the game narrative. Anaheim joins a growing number of teams using this technology to transform fan engagement, allowing the Ducks Production Department to blend stats with traditional 2D and 3D content, driving new conversations and excitement among fans.
Teamwork & Collaboration Lead to Successful Opening Night
The collaboration between Quince Imaging and Anaheim began in the offseason, with the project completed within an ambitious four-week timeframe leading up to the new season. Given the condensed timeframe for installation
due to arena availability, Quince’s rapid deployment and calibration capabilities were critical in meeting the deadline.
Opening night’s success was driven by the Ducks Production Department, led by Peter Uvalle along with their inhouseMotion Graphics Producers and in partnership with Related Grey’s stunning designs and Sexy Lites’ innovative lighting package. Together, these partnerships have set a new benchmark for fan engagement at the Honda Center.
“We’re thrilled to team up with the Ducks Production Department to bring a bold new energy to the fan experience,” said Eric Gazzillo. “Together, we’ve set a high bar, and we’re excited to build on this foundation all season.”
THE ORIGINAL TURF PROTECTION FOR STADIUMS
TRANSFORM
YOUR PITCH INTO A PROFIT CENTRE
As the ultimate turf and ice protection for arenas, stadiums, and sports facilities, TERRAPLAS® allows venues to become truly multipurpose. Our solutions make it possible to host concerts, sports events, and more, maximising your revenue potential while protecting your greatest asset - your original turf or ice surface.
TERRAPLAS
TerraTrak Plus | TerraTile
The ultimate heavy-duty turf protection, TerraTrak Plus is engineered for ultimate resilience and rapid installation, making it perfect for intense requirements at high-profile concerts and events.
Favoured by stadiums and arenas for its quick installation and high weight tolerance, it provides a reliable, durable surface that integrates seamlessly with lighter pedestrian panels. The most popular product in our Driveable Protection range, TerraTrakPlus offers the truly revolutionary solution event promoters are seeking. Boasting the highest load-bearing capacity of all our products, it is designed to accommodate the immense weight and stresses of heavy machinery
and 100+ tonne cranes, crucial for setting up major events in stadiums and arenas. This system’s large panels interlock seamlessly together, by use of transition panels, producing a floor which can be installed quickly and efficiently. With the use of our unique multi-directional connectors, installation teams can start at the centre of the venue and expand outward, which simplifies the process and speeds it up even further. Meanwhile, as always, the translucent design of the panels allows sunlight to penetrate, ensuring that your grass continues to photosynthesise and remain healthy. TerraTrakPlus is designed for seamless integration with our Pedestrian Protection range, enabling the creation of customised, comprehensive flooring solutions that
meet the specific needs of any event. TerraTile, on the other hand, is one of the most popular choices for pedestrian turf protection - and also extensively used in major stadiums and arenas across the world.
Perfect for multi-use venues, TerraTile combines strength, rapid installation, and adaptability, making it ideal for a wide range of events and surfaces. TerraTile is celebrated worldwide as a top choice for venues seeking a robust yet manageable turf protection system for highprofile events. This system strikes a perfect balance: it’s one of our lightest and easiest-tohandle options yet boasts the highest weight load capacity of all our pedestrian products. Manufactured from translucent high-density polyethene, TerraTile withstands heavy foot traffic and light vehicles while promoting continuous grass growth underneath. Additionally, the unique circular webbing under each tile enhances its strength, ensuring that TerraTile can handle significant loads without damaging the turf. The panels are easy to assemble, with each 4 tiles pinning into place to form larger panels that are pinned
together swiftly, making installation and removal a breeze. This fast deployment capability, combined with the tile’s cost-effectiveness, user-friendliness and high-quality solution, make it suitable for quick turn-around events at leading sports stadiums and concert venues worldwide.
Both the TerraTrak Plus and TerraTile can be used together, with the use of a transition panel, offering the complete turf protection solution. As the ultimate turf and ice protection for arenas, stadiums, and sports facilities, TERRAPLAS® allows venues to become truly multipurpose. Our solutions make it possible to host concerts, sports events, and more, maximising your revenue potential while protecting your greatest asset - your original turf or ice surface.
terraplas.com
AJA
How To Easily Move Audio & Video In-Venue With AV-over-IP
Halftime show and jumbotron content often come to mind when hearing stadium and arena AV, but today, more venues are exploring how they can leverage video outside of the live game experience – whether to improve monetization efforts via digital signage, for team and player performance analysis, referee reviews, or another application. The challenge, however, often lies in figuring out how best to transmit live video content captured with existing infrastructure (i.e. baseband SDI, ethernet, fiber, SMPTE 2110, etc.) to displays located in venue areas not initially intended to support video. AV-over-IP solutions like Dante AV are proving advantageous for addressing these emerging demands, helping to streamline the process for in-venue AV teams.
What is Dante AV?
Dante AV is a plug-and-play AV-over-IP solution from Audinate that is finding its way into school and university campuses, stadiums, arenas, and other AV environments. Audinate’s audio-over-IP technology has been a staple for many stadiums and arenas for quite some time now, and Dante AV provides that same level of interoperability and integrated control experience for video streams, with perfect time alignment and independently routable audio and video. It leverages
a 1GigE network to deliver cinema quality audio and video over local networking with ultra-low latency.
Why does it matter?
When it comes to AV-over-IP, Dante AV stands out – from its support of high-quality, ultra-low latency video to security controls and remote log-in capabilities accessible via the Audinate Dante Controller and Dante Domain Manager. These tools allow you to lock down audio video and routing and control on demand, and adjust remotely. Dante AV is also user friendly to get up and running, manage, and maintain. Furthermore, the Audinate brand is well recognized and respected for its reliability, with Dante Audio having been a trusted solution for routing audio and communication devices in critical sound environments. Dante AV brings that same audio routing reliability to video routing.
Employing Dante AV in-venue
As an AV-over-IP approach, Dante AV may be an emerging format, but new applications are being deployed across sports arenas and stadiums. The most common use cases leverage Dante AV to move live audio and video to secondary sources on site, like digital signage, or
review monitors near the bench or in the locker room. Stadium fiber lines, for instance, may only be able to support specific live production and jumbotron needs, so any new signage located across the bench, field, and/or locker room requires additional infrastructure to support live game feed transmission to those displays.
Technology like AJA’s Dante AV 4K-T transmitters for 12G-SDI and HDMI 2.0 conversion to Dante AV could assist in this scenario, making it easier and cost-efficient to move videos to these locations. Technicians would simply connect sources to the Dante AV 4K-T transmitters and send the signals over ethernet to a network switch so that they can route the signals to monitors at each location. The network would also include an ethernet switch and multiple AJA’s Dante AV 4K-R receivers to obtain the feeds and connect them to the appropriate monitors via HDMI or SDI.
A similar workflow could be applied to route video to digital signage located in and around the venue. For sports facilities that also house major concert tours, Dante AV can also be used to create a backup run to delay video screens.
The AJA Dante AV 4K-T and 4K-R Advantage AJA Dante AV 4K-T and 4K-R make it simple to send and receive high
quality audio and video that’s always in sync, and with ultra-low latency – both of which are crucial in stadium and arena environments where audiovisual delays aren’t acceptable. The devices not only support the Dante AV Ultra codec, which ensures pristine audio and video delivery, but also support high dynamic range content and 12G-SDI. Both include flexible connectivity to support HDMI devices as well as SDI. With AJA’s Dante AV solutions, it’s easy to expand the volume of video channels you can move from one location to others in and around the venue, creating greater flexibility to get the most out of live content shot on site.
aja.com/products/dante-av-ultra
The Best Just Got Better New Updates That Extend Features and Workflows
ColorBox v2.1 Update
The best on-the-go color management solution is getting better! Check out these user requested features in the latest free update:
• New ACES Pipeline with ACES Metadata File (AMF) support built on OpenColorIO
• New Down-Conversion for SDI and HDMI outputs with independent controls
• New 4K/2K Crop for HDMI output
- 4K to UltraHD, 2K to HD
FS-HDR v4.3 Update
The industry leading, all-in-one color management / frame synchronizer / converter gets a free update:
• New Motion Adaptive Deinterlacer Control for improved 1080i video with fast motion
• New Channel to Channel Sync control synchronizes channels within one or multiple FS units ensuring they output video on the same frame
BRIDGE LIVE v1.16 Update
New update for the encoding / decoding / transcoding / streaming powerhouse:
• New Rocky Linux 9 operating system
• SRT Bonding for Hitless Redundancy of MPEG-TS Streams over Internet
• NDI update with Multiple Discovery Server support
• Insertion du timecode SEI dans les flux HEVC ou H.264
• New ARRI Alexa 35’s Wireless Video Optimized LogC4 (WVO) support
• New SDR Preview for Colorfront Live Mode
• Updates BBC HLG LUTs to the latest v1.7
• Improves handling of embedded audio delays for multi-channel alignment
• Updates BBC HLG LUTs to the latest v1.7
• Dolby E 20-bit passthrough support
• AAC-HE support
RELIABLE AND SCALABLE PROFESSIONAL WIRELESS INTERCOM
• Now Supports up to 32 Radio Packs on a Single Radio Transceiver.
• Lightweight, Easy-to-Use
• Superior Audio Quality
• Extensive O ine/Online System Management Software
TASKER
Digital Audio & Video Application Over LAN Cables
Twisted pair cables are increasingly being used in applications beyond simple data transfer, such as digital audio systems, where they enable the creation of networks between professional devices, even allowing remote control. By using a single type of cable, wiring becomes simpler and significantly more cost-effective compared to traditional analog audio networks.
In this context, Tasker offers a comprehensive range of Ethernet cables, categorised by performance levels: 5e, 6A, 7, 7A, and 8, each defined by their transmission speeds and the specific shielding applied to the individual cables.
To meet diverse market demands, Tasker has introduced a new range of cables for mobile installations, including the C725 (Cat. 5e, S-U.T.P.), C728 (Cat. 6A, S-F.T.P.), and C726 (Cat. 7, S-F.T.P.). These cables are highly flexible due to their elementary stranded construction and are available with extra-flexible PVC jackets, LSZH, or PUR, making them ideal for external applications.
For fixed installations, there is a growing demand for CPR-certified cables, especially in areas with medium to high fire risks. Recognizing this, Tasker has developed the C723 B2ca, a LAN cable (Cat. 7A, S/F.T.P.,
4x2x0.25 mm²), suitable for various operational applications and certified for the highest CPR risk class. Additionally, for applications where such regulations are not yet required but where connections exceeding 2 GHz are needed, Tasker offers the C724, a Cat. 8 S/F.T.P. cable, which is also an excellent choice for automation systems. The applications of these cables extend far beyond the basics. They play a significant role in the broadcast industry, where their ease of installation and cost-effectiveness, compared to coaxial cable installations, encourage broadcasters to develop new video equipment. Additionally, they are widely used in applications of the DMX protocol—a standard for digital communication primarily utilized for controlling stage lighting in the entertainment industry—relying heavily on products like those described above.
Tasker works tirelessly every day to research and develop new products and materials, including creating customised solutions tailored to individual customer needs. This approach enables them to stay ahead of emerging technologies and deliver innovative products that address both current and future demands.
tasker.it
tasker.it Made in Italy
BEYOND THE TURNSTILES, BELOW THE LIGHTS
A Creative Alternative that Takes the Venue Experience on the Road
George Vaughan
aving worked in the stadium and hospitality space for many years, one thing that is immediately obvious to any follower of a team or sports person is that the number of fans generally outstrips the capacity of the venues that host them. Even the biggest arenas across the world don’t come close to being able to satisfy the audiences that follow them. Old Trafford, home to the UK’s best followed team, Manchester United, can hold just over 74,000 but most recent statistics suggest almost 20 million people in the UK alone support the team. Accommodating this massive fanbase would require an astonishing 265 additional Old Trafford-sized stadiums!
HTV broadcasts shoulder the weight of viewing audiences but while there have been attempts at other forms of hybrid engagement – during my time at Twickenham with the RFU we explored the concept of a virtual seat via VR and at Ascot Racecourse we also gave serious consideration to bringing the iconic Royal Ascot event to the heart of London – there are still huge, untapped opportunities to reimagine brand partnerships away from the venue and the sofa.
A Multi-Purpose Digital Space
I was recently introduced to a new space that opened in the West End and seemed to be the perfect fit for such a concept. Nestled in the bustling heart of London, Piccadilly Circus is now home to Below The Lights, a state-of-the-art experience centre redefining brand activations, immersive events and opportunities for sports arenas. This innovative location offers a unique blend of cutting-edge technology and historic charm, providing a platform for brands and organisations to engage audiences in unprecedented ways. From a sandbox environment for testing new concepts to the hosting of unique experiences linked specifically to an event or product launch, Below The Lights delivers the perfect “home from home” solution.
A Glimpse into Piccadilly Circus
Piccadilly Circus has long been a symbol of London’s vibrancy, famed for its iconic neon signs, busy streets and cultural significance. Originating in the early 19th century as a junction for major thoroughfares, the area quickly became a focal point
for entertainment, shopping and tourism. Over the decades, Piccadilly Circus has evolved into a dynamic space where tradition meets modernity, making it a fitting home for Below The Lights. In the cannon of most visible and identifiable locations, the big screens at Piccadilly are seen by over 100 million people every year, making them by far one of the most marketable digital assets in the world.
A Groundbreaking Space
Located just beneath the hustle and bustle of Piccadilly Circus, Below The Lights combines advanced design with an intimate setting. The venue is equipped with high-tech audiovisual systems, adaptable spaces and immersive digital displays, enabling it to host a variety of events. Whether it’s a sports broadcast, a brand activation, or a live performance, the space is versatile enough to accommodate diverse needs.
Landsec and Digital Media Technologies: Twin Keys to Success
The creation and success of Below The Lights would not have been possible without the strategic contributions of two key partners, Landsec and Digital Media Technologies.
Landsec, one of the UK’s leading real estate companies, played a pivotal role in conceptualising and developing the space. With their expertise in transforming iconic locations into modern, functional landmarks, Landsec ensured that Below The Lights would seamlessly integrate with the historic and cultural fabric of Piccadilly Circus. Their focus on sustainability and innovative design principles also helped make the space both cutting-edge and environmentally conscious. Landsec’s commitment to sustainability is evident in Below The Lights’ design and operation. From energy-efficient lighting and HVAC systems to the use of sustainable materials, the venue sets a benchmark for event spaces in this field. These efforts align with growing consumer expectations for sustainability and corporate responsibility.
Says Derek Manns, Head of Commercialisation for Landsec, “We wanted to create something unique, that satisfied a clear gap in the market but also delivered on the expectations of the customers and businesses we were seeking to attract. When you consider the location is already one of the most immediately recognisable spaces in the world, we knew we had to design something that was going to “turn heads”. Ultimately, I’ll leave it for our visitors to decide but in my opinion, I think the team involved in bringing this project to life absolutely smashed it out of the park!”
Digital Media Technologies (DMT) is a multi-sector digital experience company that delivers an extensive range of spectacular experiences into retail, sports and smart city projects. Most notably they are responsible for the big screens associated with Piccadilly Circus and they were engaged to shape and deploy the technological backbone to Below The Lights. Renowned for their advancements in digital and audiovisual solutions, DMT equipped the centre with immersive displays, highdefinition screens and interactive technologies. Their work allows brands to deliver high-impact experiences, ensuring that every activation in the space is both memorable and technically flawless.
James Game, CEO of Digital Media Technologies the delivery partner for the technology was very clear about how to meet the vision of his client. “We pride ourselves on understanding not just the customer but more importantly their audience. After all, audience satisfaction is how we ultimately measure our success and because we operate in so many different verticals, including retail, sports and entertainment, we can use that broader societal view to help structure our technological models to suit any kind of requirement.
“Ultimately, we want everything to fall within the framework of what we call “The Spectacular”, an experience we hope people will encounter with a sense of wonder, remember with a feeling of excitement and return to with a keen enthusiasm.
“Our business strategy is structured upon the four pillars of Design, Build, Run and Amplify, meaning we are not only there for the lifespan of a project but as a trusted partner, working alongside the client as an invested participant of the evolving
solution. This consultative approach is aligned with RIBA and the wider design team, enabling buy-in and ensuring delivery meets expectations”. Together, Landsec and DMT have created a space that exemplifies the future of experiential marketing and event hosting.
Opportunities for Sports Arenas
I was fortunate enough to experience Sky’s Premier League 2024/25 season launch in August that was hosted at Below The Lights and along with an inventive Williams Formula One event a few weeks earlier, were two successful examples of how sports brands can utilise the asset. It also got me thinking about how arenas and organisations could leverage its immersive surroundings, to extend the reach of their core offering, including:
- Live Streaming and Watch Parties: Sports brands could create unforgettable experiences for fans by hosting live-streamed matches or watch parties. The centre’s high-resolution screens and surround sound provide a stadium-like atmosphere in a more intimate setting.
- Fan Engagement: Sports teams can use the space for fan meet-and-greets, interactive Q&A sessions, and augmented reality activations that bring fans closer to their favourite athletes.
- E-Sports Showcases: With e-sports on the rise, Below The Lights is an ideal venue for gaming tournaments and showcases, complete with the technology to support streaming and audience interaction.
Unleashing Creativity
For brands, Below The Lights serves as a blank canvas to create immersive, memorable experiences. The space can be transformed to reflect a brand’s identity and message, enabling:
- Product Launches: The adaptable design and cutting-edge tech allow brands to craft multi-sensory product unveilings that captivate audiences.
- Pop-Up Installations: From fashion to technology, brands can utilise the centre for short-term, high-impact activations that draw in crowds.
- Interactive Experiences: Leveraging the digital capabilities of the venue, brands can create interactive exhibits, gamified experiences or AR/VR activations that resonate with modern consumers.
- Corporate Events: Companies can host conferences, networking events, or workshops in a setting that seamlessly blends professionalism with innovation.
A Bright Future Below The Lights
Below The Lights embodies the spirit of Piccadilly Circus by merging the old with the new. It offers a dynamic platform for brands, sports organisations, and innovators to connect with audiences in the heart of London. Whether reimagining sports viewership, pioneering brand activations, or celebrating cultural moments, the centre is poised to be a landmark for creativity and engagement.
As Piccadilly Circus continues to evolve, Below The Lights stands as an example of what’s possible when tradition meets innovation. This revolutionary space not only honours the historic charm of its surroundings but also paves the way for a future filled with endless possibilities.
INNOVATE & IMPROVE THE FAN EXPERIENCE
Over 120 displays at Intuit Dome, including the one-of-a-kind halo display, are designed to deliver a better understanding of the game and the players, as well as generate sound from fans in the bowl.
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What will people be talking about when they pull onto the 405 to drive home? It very well may be the size, shape and capability of this board. A spectacular acre of lights that will entertain and inform, present videos, graphics and stories, in original and interactive ways.
