SUPER BOWL LIII
ADELAIDE OVAL
STEPHEN SIEGEL
BROADCAST FOCUS
The first Super Bowl to be hosted at the Mercedes-Benz Stadium, Atlanta, since it opened back in 2017.
The picturesque cricket ground in Australia has received an audio revamp courtesy of L-Acoustics.
The CEO of Fulcrum Acoustic discusses the early days of the company and how it has grown in its 11 years.
A round-up of the latest and greatest projects and products from the broadcast sector.
ISSUE 04 - FEBRUARY | MARCH 2019
THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN SPORTING VENUES
ISSUE 04 - FEBRUARY | MARCH 2019 WWW.MONDOSTADIA.COM
Rupp Arena – Lexington, KY, USA
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04 WELCOME
efore we take a brief look at Issue 04, I just want to say a huge thank you to everyone involved with our very first AGORA event at ISE - the speakers, sponsors, supporters and, of course, all the delegates that joined us on the day. We were delighted with the event and hope you all enjoyed it, too - it was great to meet and catch up with so many people from the industry. We’re already looking ahead to AGORA 2020, so please do get in touch if you’d like to be involved... Taking place at Atlanta’s incredible Mercedes-Benz Stadium, Super Bowl LIII was, yet again, a overwhelming spectacle of live sports, performances and technology. We’ve taken a closer look at that technology, which helped deliver the whole show, from the audio and lighting, right through to the microphones and LED displays. Elsewhere, we’ve got features on the audio at Minnesota’s Target Field which features on our cover - and Adelaide Oval, which has been given a revamp courtesy of a new L-Acoustics system. We’ve also taken an in-depth look at the work Blackmagic Design has been doing in the ever-growing industry of eSports. Finally, we have our report on ISE 2019 - as well as AGORA - and a feature on the brand new Panasonic Experience Centre that we were lucky enough to visit recently. We hope you enjoy Issue 04…
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Sam Hughes Editor
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SUPER BOWL LIII
ADELAIDE OVAL
STEPHEN SIEGEL
BROADCAST FOCUS
The first Super Bowl to be hosted at the Mercedes-Benz Stadium, Atlanta, since it opened back in 2017.
The picturesque cricket ground in Australia has received an audio revamp courtesy of L-Acoustics.
The CEO of Fulcrum Acoustic discusses the early days of the company and how it has grown in its 11 years.
A round-up of the latest and greatest projects and products from the broadcast sector.
ISSUE 04 - FEBRUARY | MARCH 2019
THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN SPORTING VENUES
ISSUE 04 - FEBRUARY | MARCH 2019 WWW.MONDOSTADIA.COM
Cover image courtesy of Brace Hemmelgarn/Minnesota Twins Editor Sam Hughes s.hughes@mondiale.co.uk
Deputy Editor Emma Bilardi e.bilardi@mondiale.co.uk
Editorial Intern Emma Davidson Digital Editorial Assistant James Robertson j.robertson@mondiale.co.uk
Senior Account Manager Jamie Dixon j.dixon@mondiale.co.uk
Account Manager Laura Iles
04 INSIDE…
l.iles@mondiale.co.uk
TEAM TALK
Production Zoe Willcox
006 Justin Vaughan, Restrata
z.willcox@mondiale.co.uk
Mel Capper m.capper@mondiale.co.uk
Managing Editor Rachael Rogerson-Thorley r.rogerson-thorley@mondiale.co.uk
CEO Justin Gawne j.gawne@mondiale.co.uk
Credit Control ar@mondiale.co.uk
Group Chairman Damian Walsh MONDO | STADIA is published by Mondiale Publishing Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Tel: +44 161 476 8340 Printed By Buxton Press WWW.MONDOSTADIA.COM
AUDIO
056 Target Field | Minnesota, USA
064 Adelaide Oval | Adelaide, Australia
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070 Arena Pays d’Aix | Aix-en-Provence, France
074 Liberty Bowl Memorial Stadium | Memphis, USA
010 Kai Tak Sports Park | Kai Tak, Hong Kong
VIDEO
012 Stadio Druso | Bolzano, Italy
076 Bob Carpenter Center | Newark, USA
014 Wyndham Stadium | Wyndham, Australia
ESPORTS 078 Blackmagic eSports Round-Up CONNECTED STADIUMS
KICK OFF
088 Connected Stadiums - Aperi
016 Broadcast Focus
SECURITY 090 Allianz Arena | Munich, Germany
Finance Director Amanda Giles a.giles@mondiale.co.uk
VENUE FOCUS
INTERVIEW 026 Stephen Siegel, Fulcrum Acoustic 034 David Da Costa, infiLED EM International
EXTRA TIME 094 Danley 096 Panasonic
THE FULL PITCH 042 Super Bowl LIII, Mercedes Benz Stadium | Atlanta, USA 050 Formula E | Saudi Arabia
097 Peavey 100 Riedel 101 NEXO 102 AGORA | Amsterdam, The Netherlands 106 ISE | Amsterdam, The Netherlands 110 Panasonic Experience Centre | Bracknell, England 113 Event Diary 114 Full Time
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TEAM TALK
JUSTIN VAUGHAN, RESTRATA Security Planning for the Modern Stadium
Images: Restrata tadiums attract thousands of
stadia have been evaluating a number of
stadium, flies towards the stands and releases
supporters on a regular basis,
emerging security technologies. Some of these
this on the crowd. If this were to happen, there
who attend together with friends
technologies include Facial Recognition, Deep
would be major casualties and potentially loss of
and family to support their team
Learning Analytics and Counter Drone Solutions.
life. This type of incident would result in a major
and take part in the pre and post-match
Facial Recognition is one emerging technology
crowd management and emergency evacuation
entertainment. When at full capacity, a stadium
that is now being trialed at a number of
challenge for stadium officers, as well as local
can generate an incredible atmosphere with
stadiums around the world. Most notably, the
policing authorities. There would also be the
crowds chanting, singing, and dancing, which
technology was trialled by South West Police
lasting reputational damage, which would have
all contribute to a unique and memorable match
during the 2017 UEFA Champions League Final.
a direct impact on future stadium attendance,
day experience.
Facial Recognition technology can enhance a
revenue and loss of confidence in not just the
Unfortunately, it is a modern reality that
stadium’s security operation by unobtrusively
stadium where the incident took place, but other
stadiums are faced with several security-related
capturing an image of an individual’s face using
stadiums and sports venues in the region.
challenges that threaten to compromise the
CCTV as they pass through a ticketing entry
safety of fans, players and staff. Crowd violence,
point or within a crowded place. This image is
Security Planning Considerations
hooligans, pyrotechnics, and the emergence
then compared against a local or external multi-
When looking to improve your security
of UAVs (commonly known as drones) are just
agency database of known people and flagged if
operation and decide what technology solution
some of the threats that pose a challenge for
a known trouble maker has been detected. The
is best for your stadium, where do you start?
stadium owners, security authorities and the
system can then alert the stewards or police,
For each new security innovation, there are
police. Therefore, the importance of providing
who can act to prevent the known trouble maker
hundreds of new products flooding the market,
a memorable match day experience whilst
from entering the stadium.
so how do you determine which solution is fit
keeping fans, players and staff safe and secure is
Counter Drone technology is also in demand,
for purpose for your stadium. It is important to
a key objective for stadium management.
gaining a lot of coverage and exposure in
always take a risk-based approach whenever
the media in recent times. For stadiums, the
deciding to implement new security systems.
Emerging Security Technology
demand and requirement for this technology
A Security Risk Assessment (SRA) should be
To keep one step ahead and ensure the safety
is simple; imagine a scenario whereby a drone
undertaken for any new stadium development
of the fans against the threats of tomorrow,
carrying a homemade explosive device enters a
or updated on an annual basis for an existing
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TEAM TALK
stadium. The SRA is used to identify any new
limitations, budget, resourcing constraints
rate, due to limitations with the stadiums
risks and existing vulnerabilities within your
and, in Europe, GDPR compliancy regulations.
existing video surveillance infrastructure.
stadium - it is a precursor to any design and
These factors would need to be resolved prior to
There may also be technology compatibility
implementation activity. It is important to
resuming with your new security system project.
issues with existing infastructure or system
identify and understand the risks in the context
008
integration issues with your existing security
of both the stadium objectives and risk appetite
Preparing Stadia Security Specifications
of both the stadium and security manager.
If the security protection measures have been
Once these risks have been identified, you can
agreed by all stakeholders and all the pre-
Security technology is going to continue
then begin to develop operational requirements
requisites are in place, it is important that
evolving at a rapid pace with some exciting
and security protection measures. The
the system requirements have been specified
and innovative solutions on the horizon. Facial
UK’s Centre for the Protection of National
correctly before speaking with technology
Recognition, Deep Learning Analytics, Counter
Infrastructure (The CPNI) has some excellent
vendors or solution providers. Take facial
Drone Solutions and many other solutions,
guideline material for developing operational
recognition as an example, where your stadium
including the convergence of physical and
requirements that can be used as reference for
may require that the system provide a minimum
cyber, will have an important role to play in
your stadium. As per the CPNI: ‘Operational
probability of accurate face detection rate of,
the future of stadium security. These solutions
Requirements (OR) are an essential tool to
say, 97% over a four-hour match-day period,
will no doubt be deployed at more and more
enable an organisation to produce a clear,
with a maximum of three false alarms per
stadiums and major sports events over the next
considered and high level statement of their
hour. Once the specifications are finalised,
few years. When tasked with implementing new
security needs based on the risks they face.’
you can use this as a benchmark to determine
security technology for your stadium, always
It is also important to involve as many stadium
compliant facial recognition solutions that will
remember to take a risk-based approach during
stakeholders as possible during this planning
meet or exceed your stadiums requirements.
the planning phase. As per the CPNI’s guidance:
phase. This would normally include Facility
After evaluating the shortlisted solutions
‘Failure to plan for security often leads to
Management, Security, Health and Safety, ICT
and conducting a proof of concept at your
increases in project costs, delays in delivery
and the Corporate Risk team. You may realise
stadium, you may still discover some technical
and poor security by design’. A combination
that, after hosting a workshop, the stadium
challenges. The images stored on the facial
of people, process and technology will always
may not be operationally ready to implement
recognition database may be of poor quality or
ensure your stadium is prepared against the
the proposed security system. The cause may be
the facial recognition solutions are not capable
threats of the 21st Century.
several factors, such as existing infrastructure
of providing the required accuracy detection
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management platform.
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18/1/19 4:37 pm
KAI TAK SPORTS PARK Kai Tak, Hong Kong
Conceptual renderings: Kai Tak Sports Park
he Hong Kong Government has announced that, after an open tendering exercise, the contract for the design, construction and operation of the Kai Tak Sports Park has been awarded to the Kai Tak Sports Park Ltd. “The Kai Tak Sports Park, occupying 28 hectares of land, is the Government’s most important investment in sports infrastructure in recent decades. When completed, it will become the biggest sports venue in Hong Kong. We are looking forward to working closely with Kai Tak Sports Park Ltd’s team to create a world class sports park with high quality facilities for the use and enjoyment of the sports sector and the Hong Kong community,” a Government spokesman said. Kai Tak Sports Park Ltd is a subsidiary of New World Development Company Limited and NWS Holdings Limited established specifically for the project. Its project team comprises overseas and local experts experienced in design, construction, venue management, sales and marketing, and retail and operation. Project team members like Populous, SMG and Lagardère Sports are recognised global industry leaders with extensive experience in the design and operation of largescale international projects as well as the management of major sports venues. The design by Kai Tak Sports Park Ltd consists of a covered Kai Tak Sports Avenue running in the north-south orientation as the main axis, connecting all key facilities of the Sports Park with the adjacent Station Square, Kai Tak MTR Station and Sung Wong Toi MTR Station and leading to the harbour front promenade. The focal point of the Sports Park is the 50 000-seat Main Stadium, with ‘Pearl of the Orient’ as its façade design theme. With a soundproof retractable roof and flexible pitch surface the Main Stadium is ideal for hosting major football and rugby games. Through the installation of separation drapes, stage setting and various equipment, the Main Stadium can also be used for
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hosting entertainment and community events of a different nature and scale. The Indoor Sports Centre will provide a large multipurpose space, and with most of its 10,000-seats retractable or removable it is not only suitable for hosting major competitions but will also provide many indoor sports courts for everyday community use. The 5,000-seat Public Sports Ground is suitable for hosting school athletics meetings, athletics training and local football league games. It will also be open to the public free of charge for jogging and exercise. The Kai Tak Sports Park will also provide large open space for public enjoyment, with facilities such as outdoor ball courts, open lawn areas, children’s play areas, fitness stations and more. Other facilities in the precinct include a health and wellness centre, a bowling centre, retail, food and beverage outlets and about 850 parking spaces. There are various energy conservation and sustainability design features such as a photovoltaic system, roof greening, vertical greening and parking spaces with electric vehicle charging facilities. There are also smart city initiatives including an intelligent building management system, wi-fi hot spots, an indoor positioning system, an intelligent car park management system and mobile applications to facilitate precinct information, and booking of facilities. The contract for the Kai Tak Sports Park is for 25 years, including four to five years for design and construction and approximately 20 years of operation. The Government will fund the construction cost of $29,993 billion, while Kai Tak Sports Park Ltd is required to cover all operating costs and pay the Government three percent of the gross income plus $1,724 billion during the operation period. The construction works will commence in the first quarter of 2019 and are scheduled for completion in 2023.
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STADIO DRUSO Bolzano, Italy Conceptual renderings: Dejaco + Partner
ased in the alpine town of Bolzano, Italy, Stadio Druso well known for its unique, historical façade - has been a fixture in the area since its construction in 1930. Home to Serie C side, FC Südtirol, and lower league club, FC Bolzano 1996, the ground looks as though it will undergo its biggest redevelopment for a long time in order to meet Serie B regulations. Funded by a joint investment from the town and region - South Tyrol - the plans will see Stadio Druso transform from an athletics stadium to a rectangle venue designed for football alone. The capacity will increase, too, from 3,100 to 5,400 through an adjustment of the side stands before eventually reaching 10,000 with stands at either end. The idea is to remove the running track surrounding the pitch in a bid to deliver a more intimate atmosphere that’s suited to football. The west stand will be demolished and rebuilt much closer to the pitch, making full use of the running track space. This is set to be the most challenging aspect of the redevelopment, as the façade will need to be incorporated into the new structure. According to the plans, the decorative structure will be extended on both sides, with a new roof frame bringing together the old section.
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The new substructure of the main tribune will be made using exposed concrete, with the steel trusses of the roofs having a membrane lining on the low façade - emphasising the simple stereometric effect. The east stand, with its concrete roof, will remain the same - however, in order to match the pitch length, two cubic expansion blocks will be added to both sides. With its proximity to Austria and Switzerland, the region of South Tyrol isn’t renowned for its football culture, however, they will be hoping for a change in fortune with a stadium revamp. The plans for Stadio Druso have been delivered by a joint team of GMP Architekten and Dejaco + Partner. The budget had, initially, been set at 12 million before being raised to 14 million. The work on Stadio Druso is expected to begin in March 2019.
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WYNDHAM STADIUM Wyndham, Australia
Conceptual renderings: Western Melbourne Group / Populous
espite the name, Western Melbourne FC’s stadium won’t actually be based in Melbourne, with the plans showing that it will be built in the western suburb of Wyndham. Teaming up with the Western Melbourne Group, an ownership campaign for the new A League team, the city of Wyndham will offer the land, while private investors take care of building the stadium itself. This means that West Melbourne FC will be the first A League club to own its stadium, allowing the club to take all the revenue it generates. With a sound economic plan in place and the planned development on a manageable scale, things are certainly looking promising for the new club, who will look to compete with local rivals Victory and City. The plans by Populous will see WMFC able to host 15,000 fans on match days. The ground itself will mostly be single tiered, however the east stand will be divided into two, while the west will include premium areas. The exterior will be covered with lightweight, translucent segments - allowing for the potential to put on specialist lighting displays for events.
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In the south-west corner of the stadium, there will be a commercial pavilion. The west stand will be conjoined with the auditorium for a secondary stadium - ideal for reserve and youth teams. Away from the main field, there are plans for three other full-size pitches, as well as two smaller fields - all of which will create a base for the club’s training and academy facilities. For the stadium build, there is an interim period of four seasons to deliver the plans. During that time, the club will use Kardinia Park for its home games, however, the ownership ground behind WMFC are hopeful that they will be able to move into their new stadium sooner than planned. Wyndham Stadium is expected to be ready to officially open following 21 months of construction.
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KICK OFF | BROADCAST A closer look at products and projects from the world of broadcast...
RED BULL HOLDEN RACING TEAM CLEAR-COM Gravity Media’s Gearhouse Broadcast Pty Limited (Gearhouse) and Triple Eight Race Engineering Australia Pty Ltd (Triple Eight) have entered into a four-year service partnership for communications systems, with Clear-Com’s FreeSpeak II digital wireless intercom system providing communications between car controllers and their support staff. Both Gearhouse and Clear-Com are the Official Communications Partner to Triple Eight Race Engineering, competing as the Red Bull Holden Racing Team in their pursuit of Supercars Championship success. “It was very clear to us that using FreeSpeak II is the best possible solution for the Supercars Championship,” said Triple Eight Team Manager Mark Dutton. “The tunability of the system to suit and support our needs is truly next level, no other system in the past has come close to the functions, features, and clarity of the system. FreeSpeak II is a high-performance system which has allowed us to communicate in high pressure situations in a way we only dreamed of in the past.” 016
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As part of the agreement, Gearhouse will supply, service and install ClearCom solutions for Triple Eight, this includes an Eclipse-HX based system with nine 12 key panels and with 15 FreeSpeak II belt packs roaming between four FreeSpeak II transceivers. Gearhouse will also supply other communications equipment, including custom designed high noise headsets (modified for FreeSpeak II), equipment racks and solid-state recorders. “The Australian Supercars Championship requires that teams have superb communications regardless of the track, its conditions or anything else that would impede communications,” said Mitchell Lockyer-Lane, Business Development Manager for Gearhouse Australia. “The communications systems that we’ve put together for Triple Eight, based on FreeSpeak II and the Eclipse HX Delta assures the teams that their intercom system is something they won’t have to worry about.” www.clearcom.com
KICK OFF
FIS ALPINE WORLD SKI CHAMPIONSHIPS GRASS VALLEY Sweden’s national public broadcaster Sveriges Television (SVT) and Net Insight partnered with Grass Valley to undertake remote IP production of the FIS Alpine World Ski Championships - held in Åre, Sweden, from 4-17 February, 2019. The production setup for the competition boasts the largest number of cameras deployed and the highest volume of remote signals - video, audio and data - transmitted to date from a live location to SVT’s headquarters in Stockholm, over 600 km away. Five years in the making, this significant undertaking has broken new ground in remote production. Eighty LDX 86 Series cameras from Grass Valley, located along the ski course in Åre are delivering uncompressed HD signals over two 100 Gbps fibre circuits from Telia, to three control rooms at SVT’s Stockholm facility. Each circuit uses Nimbra transport solutions from Net Insight, including the recently launched terabit capacity platform, the Nimbra 1060. Grass Valley’s unique DirectIP capability is central to this workflow, enabling the XCU base stations to be situated in the central equipment room in Stockholm, while the cameras are in the snowy hills of Åre. DirectIP hugely simplifies the interconnections that need to be made, allowing all of the camera signals to connect straight into the XCU. This also enables the shaders to match the cameras, without any delay, with fewer people traveling and in a comfortable environment in Stockholm. This accomplishment demonstrates how far we’ve come in executing remote productions, especially looking back at our remote setup in 2012 for the London Summer Games,” Adde Grandberg, Director of Technology, CTO, at SVT said. “To achieve this feat for the Alpine World Ski Championships, we knew from the beginning that we’d need more bandwidth, an adaptable workflow and very tight collaboration with Net Insight and Grass Valley - with no compromise to our ability to deliver high quality, synchronised images to our rights holders. The stunning pictures they deliver, with minimal latency, made Grass Valley’s cameras the brand of choice for us and this project. These, coupled with its DirectIP capability, were instrumental in enabling us to create a robust and reliable workflow that can cope with the unique conditions of a live ski event. Together we’ve set a new benchmark for live remote production at a major sporting event.”
The remote production workflow is set up to support a team of around 150 camera operators and technicians on location in Åre, with the rest of the production workflow and staff in Stockholm. The DirectIP configuration on the Grass Valley cameras enables highly efficient handling of uncompressed HD signal distribution. A Grass Valley Kayenne video production center switcher panel based in Åre gives the director access to a Grass Valley K-Frame X video production engine back at the studio. This sits alongside a multi-format Sirius 850 router that was purchased specifically for this event. “When SVT first approached us about this project, the capacity to support so many cameras and reliably transport uncompressed HD signals over IP across such a large distance was unprecedented. We were working with Grass Valley at the time on this very undertaking, so this synchronicity significantly helped us bring this Alpine Ski undertaking to fruition for SVT,” added Larissa Görner, Strategic Product Manager at Net Insight. “SVT has been using our Nimbra platform as part of its network infrastructure for years, strengthened by its tight integration with Grass Valley cameras, which makes signal transport seamless. The image quality that Grass Valley cameras deliver is also second to none, so fans at home get an unmatched viewing experience that is both rich and immersive.” “Our customers are continuously raising the bar and rewriting the rules for what’s possible with live production. Remote production is the next step change, opening up new ways of working by allowing a production team back at base to have all the resources they need to deliver high quality, captivating content,” said Mark Hilton, Vice President, Live Production at Grass Valley. “We are very proud to have partnered with SVT and Net Insight to help them push the boundaries of remote production and make history. This project illustrates how our DirectIP capability can make a big difference to how broadcasters and media service providers can approach large, complex production requirements.” www.grassvalley.com
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UNIVERSITY OF FLORIDA MARSHALL ELECTRONICS Remote Broadcast Coordinator Kyle Monroe and his Gator colleagues engineer and produce all of the ESPN/SEC Network and the GatorVision VideoBoard broadcasts for many of the University of Florida’s Division I sports, including men’s and women’s basketball, football, baseball, softball, volleyball, gymnastics, soccer and lacrosse. In an effort to bring viewers closer to the action and provide angles never before attainable, the university turned to the CV343-CSB and CV502-WPMB compact broadcast POV cameras, and CVRCP-100 camera controller from Marshall Electronics. Working out of control rooms located in the College of Journalism and Communications, the sports programming makes up roughly 90% of the department’s annual broadcasts. The UF broadcast team also gets tapped to engineer and produce other UF events, such as commencement, convocation, the homecoming parade, TEDxUF and other unique shows, which is why using the right cameras is essential. “We currently use the Marshall CV502-WPMB waterproof camera and the Marshall CV343-CSB camera with multiple lens options for various configurations,” said Kyle. “We also use a mixture of magic arms, mini magic arms, super clamps and magnets with quarter-inch threads to position them on basketball stanchions, drop ceilings and just about anywhere else we need them.” One of the more popular uses for the Marshall Electronics POV cams are the two upper ‘Slamcams’ during basketball games. The ‘Slamcams’ are used primarily for action above the rim including slam dunks, rebounds and foul shots. “I use the Marshall CV343-CSB with a Fujinon YV2.7x wide angle lens,” added Kyle. “I mount these to some of the stanchion hardware using a Magic Arm with safety chains. In addition, we also have two lower ‘Slamcams’ located below each backboard that mainly show action in the paint, out-of-bounds calls, fouls, etc. I mount these in an opening in the middle of the arm of the stanchion using a mini magic arm and a magnet with a quarter-inch thread. The stanchions are all steel, so the magnet was a perfect solution to mount a camera in a tight location like this one.” 018
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For men’s basketball games, the team also puts a Marshall Electronics CV343CSB (known as ‘Gatorhead’) POV camera in the hallway where the team huddles prior to running out. Kyle uses a drop ceiling scissor clamp and mini magic arm to mount it from the ceiling. Kyle also deploys these cameras for women’s basketball and volleyball as it’s a great look for when the teams run out onto the court and for celebrations at the end of a big win. Since we do so many broadcasts inside of our multipurpose arena, the Stephen C. O’Connell Center (also called the ODome), all of the setups for basketball are semi-permanent,” said Kyle. “I’m able to build these cameras, safety chain them to the stanchions or the drop-ceiling and leave them almost year-round. This significantly cuts down on setup and strike time and is one more piece of gear we know is going to function every time we fire up our control rooms for a show.” The University of Florida broadcasts usually have anywhere from two to five Marshall Electronics POV cameras on every one of its shows. “The Marshall POV cameras are discrete,” added Kyle.“With a larger broadcast camera, both hard and handheld/RF, they take up a lot of real estate and can be complicated to maintain at times. Cameras of this size are really easy to work with, all season long.” Given the number of CV343-CSB cameras used in the ODome, Kyle recently implemented the Marshall CV-RCP-100 Touchscreen RCP Camera Control for receiving RS485 data from all Marshall cameras. “Giving paint and iris control to our V1 in our control rooms was really valuable in getting every camera to match. One of the challenges of getting this RS485 data back to our control rooms was getting it onto our fibre infrastructure. However, I reached out to some of Marshall’s engineers and they highly recommended the Questtel RS485 data over fibre convertor. It’s worked really well for us.” www.marshall-usa.com
KICK OFF
A UHD CORE LAWO Lawo has unveiled a new IP broadcast product. The German manufacturer has introduced the V matrix Software-defined IP-Routing, Processing and Multi-Viewing Platform, the SMART System Monitoring and Realtime Telemetry for Broadcast Networks and the new mc²56 third generation production console, including the A UHD Core ultra-high-density networkbased, software-defined audio DSP engine. The setup will include KICK, the Bundesliga approved automated mixing control for close-ball mixing. The V matrix ecosystem is based on generic high capacity FPGA-based processing blades, which software-defined Virtual Modules (VM) are loaded on to create the functionality required. The range of VMs includes the VM dmv64 4 - the world’s first infinitely expandable IP multiviewer and the VM UDX 4K format converter. Multiple cores are connected through redundant 40GE (or 4x10GE) Ethernet interfaces to an IP network to form a distributed IP routing and processing matrix that provides frame-accurate, clean switching just like a legacy baseband matrix. Lawo’s SMART range includes the smartDASH System Monitoring and Realtime Telemetry, vendor-agnostic enterprise software for network and media visibility across an all-IP, all-SDI or hybrid WAN/LAN broadcast infrastructure, and the smartSCOPE Deep Packet Inspection & Network Analyser, a media-agnostic, high-density 24/7 analysis platform for IP flows in
live production and delivery. The new mc²56 third generation is optimised for today’s IP-video production environment - providing Lawo’s LiveView thumbnail previews of video streams directly in the fader strip - and is designed from the ground up for networking in complex production infrastructures, with full native support for SMPTE 2110, AES67 / RAVENNA, DANTE and MADI audio streams. KICK is the ball tracking technology for close-ball audio pickup for sports such as soccer, rugby and American football. The system provides transparent sound and excellent ‘kick-to-noise’ ratio, significantly reducing crowd noise, it also ensures a consistent audio level without noticeable fades for seamless inclusion in a broadcast mix, delivering a mix that is 100% repeatable from match to match and remains highly accurate even after 90 minutes of play. Responsible for producing all Bundesliga football matches, DFL (German Football League Association) subsidiary Sportcast has been using KICK in sports production since the 2017/2018 season for live tracking of the players to optimally control the microphones that record the action on the playing field and mix the sound - with a television audience enjoying a completely new and ‘close to the match’ sound. www.lawo.com
OMNISTREAM V1.2.2 FIRMWARE ATLONA Atlona has recently unleashed its OmniStream v1.2.2 firmware release, providing integrators and end users with a powerful AV over IP feature set to drive and manage high-resolution content over the network. The latest OmniStream firmware, strengthens AV over IP distribution to video walls and system management within meeting spaces. Key performance enhancements include seamless high-speed switching - or ‘fast switching - and new daisy-chaining capabilities for OmniStream’s existing encoder grouping functionality. Atlona’s new fast switching feature, available in OmniStream Pro and R-Type systems, greatly accelerates switching time for sources. The new switching mode actively manages EDID and HDCP negotiations between sources and destinations, including displays and video walls. With switching time reduced to less than 10 milliseconds, Atlona’s fast switching innovation outperforms competitive products for switching speed across packet-based audiovisual systems. Atlona’s new OmniStream firmware further enhances video wall performance with new integrated processing functionality, which ensures precise synchronisation of content between each decoder and corresponding display tile. The result is a single, cohesive image magnified across all displays, without the appearance of breaking up if video streams to decoders are mistimed. www.atlona.com 020
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AUTODROMO NAZIONALE DI MONZA IMAGINE COMMUNICATIONS Imagine Communications was involved in an unusual challenge at Autodromo Nazionale di Monza in November 2018. The company’s systems power the new live Ultra HD production truck operated by Global Production, which took part in an extensive trial organised by Ferrari as part of its Ferrari Challenge World Final - 1-4 November 2018. The trial determined who could deliver the most consistent and accurate live colour images across all resolutions - including, of course, Ferrari’s trademark red. Global Production’s new truck was designed and built by Italian systems integrator Chromaline, with a hybrid SDI and IP infrastructure specified and implemented, together with the engineers from Imagine Communications. The outside broadcast companies demanding requirements include the ability to support as many as 30 true 4K Ultra HD cameras, with comprehensive and responsive production capabilities suitable for the rigours of premium sports coverage. This could only be achieved using software-based systems from Imagine Communications. In the tests at the Ferrari Challenge, the Global Production truck beat the competition hands down during a competitive colour accuracy test. It delivered the most accurate rendition of Ferrari red to viewers watching on all standards, from SD and HD to Ultra HD in 4K and HDR. Aside from the test, Global Production was providing host broadcaster coverage of the four-day event for Sky Italia, RAI and other broadcasters around the world. “This is the first time anybody has asked to see every single available standard and format at the same time, to monitor the accuracy of each feed and, more precisely, to determine the accuracy of the colour space,” said Nicola Dall’Asta, CEO at systems integrator, Chromaline. “Ferrari’s trademarked red colour carries as much importance as its logo - it is the essence of the Ferrari brand, so it was crucial that we delivered it more accurately than the competition.” The tests demonstrated the power of the Imagine Communications hybrid infrastructure, built around the Selenio Network Processor (SNP). The standards-based, high-density platform offers SDI/IP gateway functionality
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and all-IP-capable processing with instantaneous conversion capabilities between environments. The significance of this demonstration is that the SNP enabled Global Production to seamlessly support hybrid SDI-IP workflows, while protecting the integrity of its mission-critical signals. The compact SNP platform also delivers space- and power-savings - essential to optimal mobile operations. “In today’s hybrid world, broadcasters have to perform a lot of conversions,” added Nicola. “Imagine’s SNP allows for any type of conversion, on any type of transport, with the best accuracy on the market. This test clearly proves this.” Mathias Eckert, SVP & GM EMEA and APAC, Playout and Networking Solutions at Imagine Communications, said: “When this vehicle went on the road a couple of months ago, we knew that Nicola and his team had created a truck for Global Production that is capable of truly remarkable feats. Having a prominent customer like Ferrari perform neutral competitive testing of their highly guarded brand on our equipment - and be impressed with the results - is a testament to both Chromaline’s abilities and the strength of our technologies.” At the core of the truck’s infrastructure are four SNP units for processing and HD/UHD up and down conversion, which also serve as a bridge between uncompressed IP signals in SMPTE ST 2110 and the SDI infrastructure. All connectivity, in SDI as well as IP, is managed by the Magellan SDN Orchestrator software control system, allowing the production team to switch and interwork seamlessly between HD, Ultra HD and uncompressed real-time SMPTE ST 2110 streams. The result is that the powerful production capability is implemented in a tenth of the rack space normally required. This is a critical advantage in achieving the capacity necessary. Without it, Global Production’s goal of full functionality, including 30 true 4K Ultra HD camera capability, simply could not have been achieved inside a road-legal vehicle. www.imaginecommunications.com
KICK OFF
RAVENNNA ALC NETWORX RAVENNA is an open solution for transmitting audio over IP. Designed to meet the exacting standards of the broadcast industry, it delivers high-quality, multichannel audio over a standard IT network. Used at all major sporting events and by many major broadcasters it offers a number of features, including a highly flexible latency scheme, ranging from very low latency numbers in the sub-milliseconds area up to latency numbers large enough to suit the constraints of a WAN infrastructure. Another interesting feature is RAVENNA’s ability to use GPS to synchronise equipment. Users can hold a concert in Berlin and connect directly to a control room in London as though on a single integrated network. Furthermore, it offers complete flexibility over the type of audio you transmit - any number of channels, any sample rate, any bit depth. This allows you to connect any equipment at whatever audio quality you need. RAVENNA networks can
be configured in such a way as to provide full network redundancy in addition to the inherent transport security and reliability that is now a standard feature of most modern network infrastructures. RAVENNA is an open standard so its not tied to any supplier, manufacturers can implement the technology themselves or buy support and/or hardware from five different suppliers. The next few years look to be even more interesting, SMPTE ST 2110 is an emerging standard for networked audio and video for broadcast and it has already been agreed that AES67 forms the audio part of ST 2110, making RAVENNA instantly compatible. This means that all current RAVENNA users are already compatible with the next generation of broadcast video products. www.ravenna-network.com
STATE FARM ARENA SPIDERCAM The reworked and updated Spidercam Field joined the WWE Royal Rumble event on January 27 in Phoenix, Arizona. Only one day later a second system was used in Atlanta, Georgia, for the NFL Superbowl Opening night. Both productions heavily utilised the updated systems and their features. The Spidercam systems consist of winches that via catenary cables move a camera transport platform, or ‘dolly’ over a three-dimensional area. While there have been many minor updates to the systems over the years, Spidercam has recently released its new Spidercam Field +, despite few visual changes to the system itself, the field + has undergone some major upgrades. The most notable change is the fact that the camera systems now sport a fully stabilised 3D-remote head, a Newton by Intuitive Aerial. By adding this feature, the Spidercam Field + is able to further reduce camera shaking during movements and enjoys increased overall picture stability. Besides the corresponding camera control console by Intuitive Aerial, named Dominion, the new Spidercam Field systems also boast completely reworked digital consoles for the ‘pilot’ (the crewmember steering the dolly). Besides an integrated touch screen the new consoles implement the motion playback feature, allowing moves to be recorded and played back later. This makes it possible to not only rehearse camera moves with the director, but recreate them with absolute accuracy for the live event. Another feature that was used during the events was the Augmented Reality (AR) support: by interconnecting the camera feed with a graphics engine it is possible to augment the actual picture with virtual objects that seem to be part of reality. In order to correctly calculate the virtual objects - and how they change when the camera is moving - the exact position and facing of the camera is needed. The new Spidercam Field system provides this hardware tracking and directors can add graphics - like player cards - directly to the picture. The outcome was impressive, or, as Patrick Lee from NFL put it: “I never lost confidence in this system and it was never a concern. We’ve used many different tracking systems and hands-down; this has been my best experience yet.” Similar reactions came from Marty Miller of TV WWE: “I want to thank you and your team. The AR looked outstanding on the Spidercam. I look forward to seeing you guys in the near future.” www.spidercam.tv 023
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04 INTERVIEW
“We have always focussed on creating unique technologies, products and solutions; many of these naturally appeal to the needs of large-scale sound reinforcement.”
“I feel that we are unique as an LED manufacturer. We have the largest facility of any manufacturer in the world here in the UK.”
Stephen Siegel CEO Fulcrum Acoustic
David Da Costa CEO infiLED EM International
INTERVIEW
STEPHEN SIEGEL CEO at Fulcrum Acoustic
Can you tell me a little bit about your background and how you started in the industry? I have a formal degree in electrical engineering with a lot of musical experience and study. This combination of music and technology gave me a good foundation for a career in audio. After graduation I spent 12 to 13 years in the consulting side of the business, focusing on acoustics and audio system design. In the mid 1990s, I moved to EAW, where I served as VP of Engineering until I left in 2004. It’s at EAW where David Gunness, one of the co-founders of Fulcrum Acoustic, and I got the chance to work together. We had initially met several years earlier, when he and Chris Alfiero - the third founding partner - were at Electro Voice. By the time we started Fulcrum Acoustic, the three of us had known each other for at least 15 years.
“What we targeted were technologies and solutions to offer to projects - particularly those that need large-scale sound reinforcement...” Stephen Siegel
What’s your current role at Fulcrum Acoustic - and what do you do on a day-to-day basis? Officially, I am the CEO. As in many small companies, we all tend to cover a lot of overlapping territory. My role is primarily a strategic one, but I am regularly helping with sales, marketing, application support, manufacturing or pretty much any aspect of the business. David Gunness, the CTO, runs the R&D and product development efforts so I am less
Fulcrum did not start in the stadiums and arenas sector, but that business
involved there. As the company has grown, we have added well-qualified
has naturally evolved as our product line has grown. The company
staff in all areas of the business, so I tend to spend less detailed time in any
celebrated its 11th anniversary in February, and we’ve been developing
one discipline than in the earlier days of the company. Today, my role is to
products continuously since day one. Our product line has grown quite
set the longer-term goals for the company and to keep our growth aligned
nicely, and we now have the comprehensive set of tools available to tackle
with those goals.
these large-scale projects.
Have you always been involved in the stadium and sporting venue
We have always focussed on creating unique technologies, products and
industry?
solutions; many of these naturally appeal to the needs of large-scale sound
reinforcement. We fully expected that the arena/stadium opportunities
into the product design from conception; some of what we are able to
would unfold as we continued to grow and develop.
accomplish could not be achieved without these advanced DSP techniques.
When products were ready, we next needed to work with system designers
Needless to say, audio quality continues to be a priority in any
to garner support. As designers started to fold Fulcrum products into their
entertainment venue; it is our top priority, too.
designs, we then needed to wait for the natural specification/bidding/ construction cycle to run its course, so it took some time for that business
More recently, we have developed a Passive Cardioid technique, thereby
to come to fruition in the form of completed systems.
allowing us to improve LF control without the cost, size and complexity of active cardioid arrays. Our Passive Cardioid does not require additional
What makes Fulcrum Acoustic products suited to stadiums and sporting
cancellation drivers, thereby allowing us implement it in a variety of
venues?
products. Improved low-frequency control can be vitally important in any
We offer a number of technologies that are compelling in different ways.
reverberant space or with any system using a large number of distributed
Our product line is based upon coaxial designs. In fact, we are the only
sources. As you can imagine, this is of great interest to designers of large-
company offering a broad range of coaxial solutions, with a wide range of
venue audio systems. We’re migrating that technology into more and more
dispersion patterns and directional characteristics. Coaxes provides more
products because of the obvious need in both indoor and outdoor facilities.
compact solutions that are always attractive to designers and architects. We can do more in a smaller space with reduced visual intrusion.
How do the stadium projects start for you? We work with the project consultant or system designer, who then
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We have continued to evolve the marriage of advanced DSP and acoustical
integrates our products into their design. As time goes on, we have more
design, which gives us the ability to create high-fidelity solutions and
and more projects that are being designed around our products, even
innovate design features. Our DSP techniques are completely interwoven
though bidding and construction may be years away.
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INTERVIEW
We have also been invited to review project requirements during the
system tuning - they then have a better idea as to how that design
bidding phase; we may have options for improvements or cost reduction
translated into a successful system; this feedback loop helps set the stage
that were not available at the time of the original design due to the long
for the next project.
design / construction cycle. Some projects have been underway for years and years and may have system designs that pre-date our more recent
Which stadiums and sporting venues do Fulcrum Acoustic feature in at
technologies.
the moment? We’ve carried out a range of projects from high school to collegiate and
In terms of things you have to take into consideration with stadium and
right through to professional. Some have been full Fulcrum Acoustic
sporting venue projects, is there a specific checklist you tend to follow?
systems, while others have portions of our technology. Often times
Since we are a relatively new brand and offer a number of unique
designers will mix and match products and brands depending on the
technologies, we may work in close collaboration with a system designer
technology/performance needed, budgetary limitations, etc.
if he or she has not used our products before. Many designers will use EASE to model their loudspeaker. However, we understand that EASE
When we launched the cardioid subwoofer system, we immediately
predictions don’t always translate accurately to field results, depending on
replaced the subwoofer design at Chesapeake Energy Arena in Oklahoma
the quality of the data provided by the manufacturer, so designers need to
City. The directional characteristics of our CS121 cardioid subwoofer were
gain confidence in products and data from a new brand. We are told that
exactly what the designer wanted, and we were able to offer a cost savings
the data we provide for our products does translate extremely well from
due to the passive cardioid design. Recently, we’ve created some highly
model to installation. This gives designers tremendous confidence in the
custom designs for the Baltimore Ravens’ M&T Bank Stadium. Phase 2 of
predictions that result from their modelling.
the Philadelphia Eagles’ Lincoln Financial Field upgrade is underway as we speak. We have a number of Canadian Football League stadiums, as
Once a designer has gone through the complete project cycle - including
well as soccer stadiums, and there are a huge number of universities we’ve
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INTERVIEW
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he only you need
INTERVIEW
“The project we’re working on for Philadelphia Eagles is pretty much using all the tools in the toolbox; the cardioid subwoofers, our newest coaxial designs, the FH Series - and it’s always fun working on a Super Bowl champion stadium.” Stephen Siegel
worked on, too. As the Fulcrum Acoustic toolbox becomes larger and more
number of challenges. Our larger format AH products provide the high
compelling, we are capturing more and more projects.
output and excellent pattern control needed for this application. That’s a really fun project due to the uniqueness of the project and the acoustical
What are the differences in terms of approach when it comes to a
challenges. As engineers, we get excited about things that others may find
collegiate venue compared to a professional stadium?
ordinary!
At the collegiate level and below, system requirements can vary dramatically from project to project based on the preferences of the sports
What would you say is the next big thing in stadium technology?
team and the requirements of their facilities. For example, we worked on a
I wish I knew what the next big thing will be! We approach development
high school stadium in Katy, Texas that is larger and better equipped than
from a technology and application standpoint, rather than the facility
many university stadiums. And, we have worked on university projects
point of view. We get our feedback from designers and we see a stream of
where sports are prioritized less and require more modest systems.
incremental - but important - improvements, rather than anything that is going to be a complete game changer.
A niche we’ve found in some larger university stadiums is in the locker room systems. We’ve been called on to deliver what is essentially a
We always look for opportunities to reduce the footprint of loudspeakers
nightclub experience, along with the usual stadium system. We have
– and we get a lot of support for that concept. Signage and advertising can
provided rather elaborate locker room systems, even more capable than
conflict with loudspeakers, so we like to be able provide choices for the
many nightclubs, all in the interest of energizing the athletes ahead of
designer to help avoid conflicts.
games. A technology that we have developed over the past five years is one that What has been your favourite stadium or sporting arena project so far?
relates to outdoor loudspeakers. We now use composite materials to create
The one we’re working on at the moment is always the most exciting,
outdoor versions of our products, rather than the familiar plywood coated
because it typically has our latest technology. The Philadelphia Eagles
with fiberglass (or a poly-urea “truck bed” coating). We can now supply
project is using all the tools in our toolbox; from CS118 cardioid subwoofers
a product that is completely immune to rot and water. Our composites
to our newest coaxial systems, the FH series. It’s always fun working on a
are also lighter in weight than plywood, too, which is obviously a huge
Super Bowl champion stadium, that makes it exciting.
help when it comes to installation. While not glamorous, it is immensely practical.
Another fun one was the Alerus Center in North Dakota. It’s an indoor football facility (winter football is better played indoors in North Dakota). It’s not a stadium scale building per se, but, acoustically, it presented a
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DAVID DA COSTA CEO at infiLED EM International
INTERVIEW
Tell me a bit about your background and career so far… I’ve been in digital signage now for over 20 years. I first came into the industry in 1995 - I was providing wireless communication solutions for Network Rail. We were putting a front-end visualisation onto wireless communication using old CRT monitors back in the day - that was my first entry into providing display content communication. From then on, it was providing visualisation in the health sector for several years. Then, after that, I started working with media owners as they looked to put in video walls in shopping centres, both touchscreen interactive and double-sided LCD displays. It was the journey from wireless to digital communication to CRT through to LCD then onto LED as technologies advanced and changed to make it more visually exciting as a communications platform for football and the target audience. What is your current role at infiLED - and what does that include on a day-to-day basis? With Ben (Da Costa), I own infiLED EM International - we have a joint venture with the factory. My day-to-day role is building the business, the
“We have technology officers, engineers, technical specialists the fact we have those resources helps us work with clients and their engineering firm, their integrators, so our team have the scope to overcome any challenge with our solutions.” David Da Costa
partner programme, the revenue and the strategy of the operations as a provider of LED technology in Europe. When did infiLED Sports start? In the Autumn of 2018. Whilst there are some good quality providers in
Town, where we put in a display for them. We’ve done Cardiff Arms Park,
that sector, particularly the football arenas, we have started to look at
too - we’ve done the scoreboards and the main display on the entrance to
the products and solutions that were being delivered to sports arenas and
the park in the centre of the city. One we’re very proud of is the first ice
stadiums outside of the magnificent Daktronics.
hockey stadium we put in Sweden with Bright Group - Coop Norbotten Arena in Luleå - which won the best indoor installation of a sports venue in
We looked around and said ‘who else is providing a quality solution?’ - we
Europe.
simply didn’t see it. Across retail, leisure, transportation and so on, the competition is very strong and the technology is superb. We felt that was
How do the projects start for infiLED Sports?
missing in the sporting venue industry, with the exception of Daktronics,
A lot more people are now aware that we are more proactive in sporting
of course.
venues and the more awareness that is out there about our capabilities, the more people are approaching us about projects and consulting. So, from
What does infiLED Sports offer the sporting market that others don’t?
the architect stages or through integrators who have been given a brief is
From a hardware perspective, a custom-made solution. We don’t just make
often how it works in terms of starting the process. Being approached by
boxes or cabinets. There are a number of opportunities and one has to
integrators and specialist sports agencies is definitely starting to happen
work with consultants, engineers and architects to make a custom-built,
more for us.
custom-size solution for each arena and stadium. What we do is custommade tooling, engineering and solutions for each venue we come across at
What are the main things you take into consideration when starting one
one of the leading factories in the world.
of these projects? The most important thing for us is understanding the clients requirements
What sporting venues have infiLED Sports worked on?
and I think the reason we are who we are is because we listen. A lot of
We’ve done a number of sports stadiums in central Europe, including
people are talking about getting value out of their display technologies - at
venues in Italy, Germany and Austria. We have also worked on projects
the end of the day, you can embed a lot of software and analytics into it.
in Malaysia, China and, in the UK, we started at a League Two stadium in
You can do facial recognition, you can control the traffic and movement
Morecambe. The newest FA-sponsored build was a local club to us, Nelson
of people from the contents you put on a display. The right content with
INTERVIEW
the right software can make the displays highly intelligent and that is
What has been your favourite stadium or sporting venue project so far?
something that can be used for other things, like controlling behaviour
Coop Norbotten Arena was so brilliantly unique because the timing with
patterns. The other side is using that engagement to retain loyalty - people
regards to the tight deadline - if it wasn’t done on time, the flooring would
need to be staying in the venues; spending money, booking tickets for the
have had ice freezing over it, of course - so it just had to happen within
next game, merchandise and so on. We have a key role to play in how clubs
that certain time. It was like mission impossible watching the clock going
monetise the display investment they are entering in to.
down, combined with the adrenaline rush. We were also working with serious experts in the form of Bright Group and, I have to say, the final
Are there any particular difficulties you run in to when completing these
result was spectacular.
projects? There are always challenges whether it’s a sports arena or a transportation
Elsewhere, the one I’m looking forward to the most that has been built
project where there are a lot of engineering challenges. I feel that we
recently is the new Tottenham Hotspur stadium. The work done there by
are unique as an LED manufacturer. We have the largest facility of any
Daktronics sounds out of this world.
manufacturer in the world here in the UK. We have technology officers, engineers, technical specialists - the fact that we have those resources
Have you got any particular goals you’d like infiLED Sports to achieve in
helps us work with clients and their engineering firm, their integrators, so
the future?
our team have the scope to overcome any challenge with our solutions.
In the next few years, we’d like to be seen as an alternative solution to Daktronics - what a great compliment that would be. In 10 years time, we’d
Do you have anymore stadium or sporting projects coming up?
like to be on a par with them because they are the market leaders. We need
Yes, we’re looking to work with one of the main sporting bodies in football
to demonstrate that technically - support and innovation wise - we are
in the UK and Europe. We are currently working on two projects with
learning from them and we will compete.
Premier League clubs. We’re working on a proposition with La Liga and we’re looking expand a current opportunity with a Bundesliga club. These
What do you think is the next big thing in terms of visual technology for
are all by word of mouth without us going out there - they know we have
stadiums and sporting arenas?
the technologies and solutions, as well as the capability to support it.
I think that the visualisation has just got better and better, so you may even get the 4K resolution that you do at home at a sporting venue. The
The key element is that if these stadia only have their displays operating on
rest of it is going to be embedded technology with fan engagement - and
a minimum capacity - when they’re on, they have to perform 100% and,
that’s where I see things going over the next few years.
if there are any problems, we can repair them the same day. That level of service and maintenance support is what the industry has been crying out for.
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04 THE FULL PITCH
042 Super Bowl LIII, Mercedes Benz Stadium | Atlanta, USA 050 Formula E | Saudi Arabia
THE FULL PITCH
SUPER BOWL LIII Mercedes-Benz Stadium | Atlanta
Images: GL events
S
uper Bowl LIII took place at the impressive Mercedes-Benz Stadium on 3 February - the first Super Bowl to be hosted at the Atlanta venue since its opening back in 2017.
The New England Patriots landed their sixth Super Bowl title - tying them with the Pittsburgh Steelers for the most Super Bowl championships - after defeating the Los Angeles Rams 13-3. Broadcast live on CBS Sports, this year’s Super Bowl Halftime Show featured a headline performance from Maroon 5, while rappers Travis Scott and Atlanta native, Big Boi, performed as guests. Traditionally the most-watched musical event of the year in the US, the production was, as ever, a mammoth task, with an incredible amount of technology used at Mercedes-Benz Stadium. Lighting For the half time show, Elation Professional played an integral role, alongside Bruce Rodgers of Tribe Inc. - who was on production design, with lighting design by Bob Barnhart of 22 Degrees. The Super Bowl Half Time Show marked the live show debut of Elation’s Rayzor 760, a unique LED luminaire with seven 60W RGBW LEDs, 5º to 77º zoom, continuous pan and tilt, and new SparkLED technology. Bob, who has lit over 20 Super Bowl Half Time Shows and said he was happy to audition the fixture, positioned 45 Rayzor 760’s in an impressive 60-yard row behind the large M stage at field level. “When we layout a Super Bowl Halftime light plot, we look for different layers that give us effect, scale and diversity,” Bob explained. “When Eric Loader showed me the new Rayzor 760, I immediately told him I had a place for them on the Super Bowl.” Bob placed the Rayzor 760’s on a field truss all the way upstage, close to the first row of seats. “I wanted to use the 760 to colour the air in the background, which becomes a nice layer to offset the beams in the foreground,” he explained. “We also used the continuous pan and tilt to give a different tool for tempo and scale. The quickness of the LED engine also allowed us to dual purpose the fixture as a strobe.” The Rayzor 760s produce a well-defined mid-air beam or can spread exceptionally wide for an even wash coverage and performed well during the 12-minute musical half time performance, holding their own against the 100’s of other higher power lights around them. “The fixtures performed really well and not one needed attention from the crew,” said Bob. The Rayzor fixtures were supplied for the Super Bowl Halftime Show by PRG.
THE FULL PITCH
Along with the Rayzor fixtures, other Elation products
people hear from the time they enter the venue is under
were used elsewhere at Mercedes-Benz Stadium, including
our control, including the half time show,” said Michael.
the new, feature-rich Artiste Picasso LED profile moving
“We have A12’s loaded on carts to roll out on the field for
head - employed as front key lights on the CBS Sports
the Halftime Show, and NFL groundskeepers are very
stadium broadcast studio - the Colour 5 Profile LED
happy that the carts won’t damage the field’s playing
ellipsoidal spot, which was used on the field set. Leading
condition thanks to the loudspeaker’s lightweight and
up to the Super Bowl, Elation products were spotted
compact design. Also, we don’t want to block fans’ field of
all around Atlanta, supporting the numerous events
vision. We achieve less obtrusive sight lines with the A12s
surrounding the game.
so that the loudspeaker stacks don’t interfere with views from the lower bowl seats.”
Audio
The mixing for the live music and entertainment was split
ATK Audiotek specialise in providing audio systems for
into three sections; the FOH entertainment using a DiGiCo
for live television shows and major events like The Voice,
SD5 console, the monitors with another SD5 console and
Jimmy Kimmy Live!, the Grammy Awards and more - and
non-entertainment FOH sound using a Yamaha CL-5 desk.
they were back again at Super Bowl LIII to provide the
Fibre cabling extends around the stadium to each of
audio for Super Bowl Half Time Show.
the four corners of the field, distributing the signal to
In order to raise the bar from their previous successful
Powersoft K10 amplifiers, which were located under
Super Bowl shows, ATK Audiotek planned to deliver
the moving bleachers, and then onto the carts of JBL
premium audio quality and selected JBL Professional’s VTX
Professional loudspeakers. A split from a Focusrite D64R
A12 and A8 line array loudspeakers to deliver premium live
Dante-to-MADI interface sends that entertainment mix
sound reinforcement for the Super Bowl Halftime Show.
over MADI to the broadcast trucks.
“The VTX A12 is the best speaker JBL has ever made, and
044
it plays a significant role in our current inventory,” said
LED Display
Michael MacDonald, President of ATK Audiotek.
Playing a huge part in the Super Bowl LIII is, of course, the
“Two of the most important aspects of a loudspeaker’s
incredible LED displays at Mercedes-Benz Stadium. The
performance are coverage and a flat response. The A12 is
ground-breaking engineering innovation by Daktronics is
consistently excellent in both of these areas. We’ve added
one of the most impressive sporting venue installations -
192 A12 loudspeakers to our inventory since the 2018
and one that was fully utilised throughout the Super Bowl
Grammy Awards, and they’ve been warmly welcomed by
this year.
our engineers and technical staff.”
Daktronics manufactured and installed the LED video
ATK Audiotek installed and fine-tuned every aspect of the
display - a never-been-done-before 360º halo display that
sound system that was used at Mercedes-Benz Stadium for
sits above the field as part of Mercedes-Benz Stadium’s
the Super Bowl - one of the most ubiquitous entertainment
unique retractable roof structure.
events in the world. The VTX A12’s ease of deployment
Daktronics was also manufactured a large, first-of-its-
played a huge role in enabling the ATK team to quickly
kind mega column LED display in the stadium, which
deploy the loudspeakers on and off the field for the highly-
stretches 101ft from the first concourse to the roof.
anticipated half time show.
More than 82,500 sq ft of video displays at Mercedes-
“The Super Bowl is an interesting production - everything
Benz Stadium were installed by Daktronics during the
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046
construction of the venue.
Reece Kurtenbach. “The project is a test of engineering and
“Daktronics is in a league of their own,” said Rich McKay,
architecture coordination that showcases our company’s
President of AMB Sports and Entertainment. “We selected
depth and capabilities.
to work with them because of their dependability known
“Increasingly, there is a desire to move beyond common
throughout the industry as well as the creativity they bring
rectangle shapes and Daktronics has been at the forefront
in crafting something that has never been done.”
of the creative use of LEDs. We are equipped to be
The spectacular halo display measures 58ft high by 1,075ft
a valuable partner with our customers for complete
in circumference - large enough for a helicopter to fly
solutions, no matter what their aspirations may be for
through - for a total of 61,900 sq ft of display space. It
their venue, their display systems and overall experience
will be more than five storeys high and almost three times
for their fans.”
larger than the previous largest display in professional
The mega column is a four-sided display that covers
football.
a building support structure with usable video space
“We’re proud to provide Mercedes-Benz Stadium with
to entertain fans. Coming in at a total of 6,700 sq ft -
this unique, visionary halo display,” said Daktronics CEO,
approximately 101ft high by 71ft around - the mega column
WWW.MONDOSTADIA.COM
THE FULL PITCH
has more square footage than the main video displays at 19
plus the Maroon 5 half time show and the referee’s critical
professional football venues and 24 major league venues
microphone.
for baseball, highlighting just how impressive it really is.
Professional Wireless Systems’ RF Engineer, Gary Trenda,
The displays at the stadium will provide all of the modern
chose Shure wireless again - he takes up the story:
LED video capabilities using 15HD pixel layouts to provide
“It’s our second straight year using Axient Digital as
full HD video and instant replays. They can also use
our preferred system, which has several advantages in
variable content zoning for multiple windows to show any
covering a football field. The Quadversity antenna system
combination of video, statistics, graphics and animations,
increases reliability and range. No matter where your
sponsor messages and other game information.
transmitter is, you’re always closer to antennas than you
In addition to the halo and mega column displays,
would be with a regular diversity setup. That’s a huge
Daktronics installed 12 other LED displays throughout
advantage to us because the stage design and location
Mercedes-Benz Stadium, including fascia and auxiliary
are typically not yet finalised at the time when we are
displays. Three displays will feature Ultra-High Definition
designing the RF distribution and specifying the wireless
(UHD) LED technology with pixels spaced 2.5mm apart
equipment.”
to bring fans into the action with up close live video and
In the 30 minutes before kickoff, Axient Digital got the
replays in two club areas at the stadium.
game broadcast off to a flawless start. Activities like the Walter Payton NFL Man of the Year Award, presented to
Microphones
Chris Long of Philadelphia, by previous winner J.J. Watt
The Super Bowl is arguably the most wireless-intensive
of Houston, used an AD2 handheld transmitter with
live event every year, with thousands of devices vying
KSM8 mic element. Presentation of the colours used AD1
for clear spectrum. Leading up to the big game, Atlanta
bodypack transmitters on the Sergeant and drummers in
saw a wide range of football activities, concert events,
the colour guard. Chloe x Halle then sang ‘America The
broadcasting and fan experiences. To ensure flawless
Beautiful’ using AD2/KSM9 handhelds, followed by the
operation and outstanding sound quality across these
National Anthem, sung by Gladys Knight on the ADX2FD/
events, Shure wireless systems were selected for game day,
KSM8 microphone, using Shure’s unique frequency
including the flagship Axient Digital wireless system and
diversity feature.
PSM 1000 in-ear monitors.
For the coin toss, referee John Parry was double-mike’d
All RF usage was planned and managed by NFL Lead
with twin Axient analogue AXT100 bodypack transmitters,
Frequency Coordinator Karl Voss. Primary audio supplier,
also in frequency diversity mode. Parry used the system
ATK Audiotek, again brought in experts from Orlando-
for penalty calls throughout the game, so the referee’s
based Professional Wireless Systems (PWS) to meet the
mic was always under the microscope. Since changing to
challenge of delivering pristine audio for the on-field
Axient analog several years ago, referee audio has been
entertainment. PWS handled Gladys Knight’s rendition of
consistently tight.
the US National Anthem among other pregame festivities,
“Shure frequency diversity feature offers big benefits,”
047
THE FULL PITCH
added Gary. “With two active frequencies operating
by sound engineer Dave Grundtvig, to capture the crowd’s
simultaneously, we can avoid interference by switching
excitement.
seamlessly to the second channel. For the referee system,
During the week, 48 Axient Digital channels were deployed
we extend that redundancy by using two microphones
at Super Bowl press conferences by the NFL, the Rams,
and even two receivers, one on house AC and the other
and the Patriots, plus Opening Night at State Farm Arena
plugged into a UPS battery backup system. That gives us
and at Super Bowl live fan events. Shure MX418 gooseneck
two fully redundant audio paths, so it would take a pretty
microphones were spotted on podiums for speeches and
catastrophic failure to lose the referee audio.”
interviews in the Georgia World Congress Center.
The Halftime Show was a Shure-driven event, with
At the annual NFL Honors awards show on Saturday,
Adam Levine’s vocals delivered via an ADX2FD/SM58
ATK Audiotek provided 20 channels of Axient Digital, six
microphone. In addition, Levine and Maroon 5 lead
channels of UHF-R wireless mics, and used PSM 1000 for
guitarist James Valentine used the new ADX1 bodypack
all in-ear systems. Another highlight of the week was the
systems for their guitars. The ADX series of Axient Digital
first Bud Light Super Bowl Music Fest, where daily concert
incorporates Shure’s ShowLink system, which provides full
events included Bruno Mars on Axient Digital, Aerosmith
remote control of all transmitter functions by the system
on Axient analog, and Cardi B with her signature gold
operator. This backchannel command and control system
UHF-R handheld wireless transmitter.
was powered by three AD610 ShowLink Access Points,
Shure wireless systems were seen at official events around
strategically placed around Mercedes-Benz Stadium.
Atlanta leading up to Super Bowl Sunday, with hundreds of
“Throughout the day, PWS’ Cameron Stuckey was
Axient Digital microphones and PSM 1000 in-ear systems
monitoring all the Shure wireless systems with the
in the most demanding situations. It all culminated on
Wireless Workbench software,” said Gary. “With
Sunday night, with another series of flawless performances
Workbench and the AD610 Access Points, we can control
during the game itself.
all aspects of the ADX series transmitters. We can
Gary stated that Axient Digital again provided exactly what
actually change frequencies, and adjust other functions
the NFL has come to expect of Super Bowl audio: flawless
remotely. This provides an extra measure of reliability and
RF performance and outstanding sound quality for the
confidence that you need at an event like the Super Bowl.”
most demanding live broadcast event on the planet. “The
In fact, Shure products were spotted at a wide range of
Super Bowl requires a lot of preparation and specialised
Super Bowl Week events. During the game, surround sound
equipment, and Shure is a big part of that,” he said. “Once
listeners enjoyed audio ambience from a range of Shure
again this year, we had no equipment issues at all during
microphones, including VP88 stereo mics in mid-side
pregame or the halftime show, so it’s fair to say that
mode with KSM313 ribbons, paired Beta 181 condenser
Axient Digital with Quadversity is our preferred wireless.
mics, and roof-mounted KSM44A condensers in X-Y
It’s a proven product that gives us the reliability required
configuration, all strategically placed around the stadium
for a live broadcast event like the Super Bowl.”
BRANDS: Elation, JBL Professional, DiGiCo, Yamaha, Powersoft, Focusrite, Daktronics, Shure | INSTALLERS: ATK Audiotek, Professional Wireless Solutions | PRODUCTION DESIGN: Tribe Inc. | LIGHTING DESIGNER: 22 Degrees | WEBSITES: www.elationlighting.com, www.jblpro.com, www.digico.biz, www.yamaha.com, www.powersoft-audio.com, www.focusrite.com, www.daktronics.com, www.shure.co.uk, www.atkaudiotek.com, www.professionalwireless.com, www.tribedesign.net, www.22deg.com 048
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MADE IN GERMANY
SAUDI ARABIA FORMULA E HIGHLIGHTS
Images: Losberger De Boer
G
lobal mega-sporting events specialist,
needs of the planet are carefully balanced with delivering
Losberger De Boer, secured the temporary
optimal race day performance, while providing an
structure build contract for the electric Grand
unrivalled visitor experience for guests.
Prix in Riyadh, Saudi Arabia. The international
“Critically, our team follows a carefully planned project
temporary structures specialist built a 190-metres-long
management process to ensure tight build and dismantling
pit lane building together with second floor hospitality
times are met. Since the race track is located in the centre
and viewing facilities. The build site located in Ad Diriyah,
of a busy working city, our team works hard to keep
the historic centre of the Saudi Arabian capital, faced an
disruption to local residents and businesses to a minimum
existing public road that was closed for qualifiers and race
- this is an area of expertise for Losberger De Boer,”
day between 12-15 December 2018.
concluded Paul.
Losberger De Boer was responsible for project managing
With close to 700 projects every year, Losberger De Boer’s
turnkey delivery of the entire pit lane structure to support
other projects include the Baku City Race Circuit event
this event within a tight 40-day build timeframe together
overlay for a major international Grand Prix motor sports
with rapid dismantling immediately following race day.
racing event in Azerbaijan.
Senior Sales Manager, Paul Machin, of Losberger De Boer Middle East said: “Functionality and delivering an optimal viewing experience are key concerns for the organiser, so in light of this we were pleased to be able to deliver our Emperor and Premier products using ISO 14001 environmentally-certified processes. This ensures the
BRAND: Losberger De Boer | WEBSITE: www.losbergerdeboer.com 050
WWW.MONDOSTADIA.COM
Top Right: Losberger De Boer’s Senior Sales Manager Middle East, Paul Machin.
THE FULL PITCH
Images: ADI.tv
E
vent LED specialist, ADI, delivered over 650 sq metres of stunning modular screens for the Season five opener in Ad Diriyah, which not only marked the first E-Prix in the Middle East, but also the first major international sporting and live
music event to take place in Saudi Arabia. A variety of 19 high-resolution screens were installed across the purposebuilt Ad Diriyah circuit with a range of formats and displays up to 70-metres in size, which featured trackside, above grandstands and at the Allianz E-Village - along with 18km of circuit level fibre distribution to deliver HD feeds to every screen and the debut of a new custom-made LED podium that will travel to every E-Prix. The international electric street racing championship made its debut in the Middle East with an ambitious staging and screen requirement for the historic occasion, which was held at a UNESCO world heritage site just outside Riyadh. Screens included two 70-metres x 6mm modular displays that were hung from 25-metres high structures, towering over the main grandstands, while freestanding 33-metres screen structures
650-metres of LED across a huge venue encompassing a UNESCO World
faced the crowds to deliver non-stop coverage. At the Allianz E-Village
Heritage site - and load-out was achieved in a short 10-hour timeframe.
ADI seamlessly integrated LED to amplify brand partners and spectator
We shipped and airfreighted over 67 tonness of kit to Saudi Arabia for the
experience, with 4mm product installed across the front of the Gaming
event, designing and delivering a complex range of modular solutions, and
Arena and also creating a super-wide digital backdrop to the Podium
employing the assistance of Video Illusions and Showforce UAE to achieve
staging, in addition to four 3mm screens provided for the Emotion Club
the vision for this momentous live event.”
hospitality suites.
He added: “In 2018 we supplied eight events and over 3,500-metres of
The podium itself was a newly manufactured build that features four steps
LED to Formula E globally, and that will grow considerably in 2019 as
and full 4mm LED frontage, hosting the winner Antonio Felix de Costa of
we provide screens and video distribution to new and existing E-Prix’s
BMW Andretti Motorsports, alongside second and third place drivers and
around the world during Season five, with January 2019 featuring both the
the Constructors trophy winner.
Marrakesh and Santiago de Chile E-Prix’s.”
ADI’s Screen Rental Director, Nick Robinson, stated: “The Ad Diriyah
The Ad Diriyah E-Prix took place on the 15 December 2018, with the
E-Prix was by far the most technically and operationally challenging
Marrakesh E-Prix on the 12 January 2019 and the Santiago de Chile E-Prix
project we’ve delivered for Formula E to date - with just 72 hours to install
on the 26 January 2019.
BRAND: ADI | WEBSITE: www.adi.tv
Finance for entertainment technology, stadium and arena fit-outs
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15/02/2019 15:04
051
Images: AES
A
ES continued to provide the region’s biggest
away from homes and families is tough on the crew but the
music events with the best staging and
AES family dug in and we got the job done.”
structure solutions, by supplying the after-
JJ Trichardt, Managing Director of AES, attended the shows
race concert staging for the ABB FIA Formula
in Riyadh and described the importance of such an event.
E, Riyadh and the Abu Dhabi F1 Yaslam concerts.
“From the start, the whole Formula E event has been such
Running in a similar format to the Abu Dhabi F1 program,
an exciting project for us at AES, even before you look at
the new E-Prix after-race concerts, organised by Live
our own scope of work, you just have to consider what is
Nation, were held in the Allianz E-Village situated next to
happening here in Saudi,” he stated.
the race track. Lucky race fans were treated to some of the
JJ reflected: “Ad Diriyah, is a UNESCO World Heritage Site
best musical acts in the world.
and the vision between the General Sports Authority, along
The AES team was brought in to provide a stage setup.
with Formula E, to host such a major festival of racing and
Supplying the four Leg Classic Stage in KSA has now set
music here, has really set the bar high for future large-
the standard for future music festivals in the country. The
scale sporting events, live music and entertainment in The
stage, a favourite for international artists, provided a
Kingdom.
variety of benefits for the performers, the spectators and
“I believe the three-day event was the first-of-its-kind to
the organisers. The wide and flat frontage of the stage is a
run in KSA and really shows the social change happening
marketeer’s dream, opportunities to brand the structure
here. A total of 16 years in this business, means that I have
are endless
attended and worked on thousands of shows and concerts
As the leading stage and temporary structure supplier in
across the world. However, the experience I had from the
the region, AES used its previous six years of experience
Riyadh race concerts was like no other. To be surrounded
providing the AD F1 after race concerts, to provide a
by crowds of thousands, people who are just simply loving
spectacular stage setting for the gigs. The stage setup
their involvement of being there. They could have been
provided artists with a 25-metre x 15-metres performance
David Guetta fans or not, it didn’t matter!” he exclaimed.
area with steel wings extending the stage to 51-metres
“I realised that this experience, one that I have come
wide.
accustom to, could be the first time artists, of this global
AES Project Manager, Jacques Steyn, discussed how the
scale, have been received here and it was so special to
build went: “It was yet again, another great experience to
witness. The expansion of this industry in Saudi is really
come back to Riyadh and work on an event such as this.
interesting to see. To be involved and taste the enthusiasm
Although I have built many of the music stages over the
of the Saudi people for these shows is really refreshing and
past six years in the UAE, working on this one, for the
it really makes you feel good about the business we do and
first ever Formula E race in KSA, meant there was a little
why we do it.”
bit of pressure on site. The hype and expectations of the
JJ also talked about the products AES supplied for the event.
new event meant that; to get it right - which we always do
“The staging is, of course, the show piece of the show and
anyway - was as higher priority as ever.”
we are very pleased for how great it looks with the Formula
AES work regularly in KSA and strive to ensure all of the
E branding on. However, the shows we supply for, would
labour and materials are available and we can built safely
not happen if other elements of the infrastructure were
and quickly.
not in place. We have provided this event with the Mojo
Jacques explained: “We were tasked with a seven-day build
Barriers, police barriers and Heras fencing. Although these
schedule to complete all structures, including; stage, FOH,
are smaller products, they are crucial to the running of
VIP platform, towers, crowd control barriers and fencing.
a safe event, as crowd control is a priority to any event
The team worked long days and it was a great effort by our
organiser. AES have recognised the demand for these types
excellent staff, as they had just come off another big job we
of items and we have just invested in over 15km of fencing
had built three weeks earlier in Riyadh. Spending a month
which is available in Saudi and all across the region.”
BRAND: AES | WEBSITE: www.aes.ae 052
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Images: Aggreko
A
ggreko provided generation, secondary power
due to various changes in the demand by the customer,
and temperature control solutions for the
which in effect caused the crew to go back to the technical
whole event, including the Formula E element
drawing board and changing the full specifications of the
and after race concerts. The team specified
equipment.
17mW power supplied via 72 generators installed at
Martin added: “With the event being first of its kind, we all
various locations on site and 18 units of cooling equipment
faced many challenges, not to mention the weather acting
generated 485 TR of cooling. A total of 14 technical
up and the down pour of the rains. Vendors came to the site
specialists and three project managers were flown into The
with different types of connectors which was a challenge
Kingdom from Aggreko global network and 15 local man
to get them up to Aggreko standards to be able to connect
power staff were appointed specially for the duration of the
to our systems. This was a learning curve for all parties
undertaking.
involved. Race day was the largest challenge of the whole
Despite a litany of logistical challenges, the Agrekko team
project, with the weather not being on our side and with
was more than up to the task Martin Nichol, Aggreko
the region experiencing a huge downpour on the morning
Events Manager Middle East, commented: “The challenges
of the race, our equipment and design ensured that all
we all faced with this event was that it was revolving
electrical circuits supplying power to every vendor on site
and growing in size on a daily and weekly basis, it was
from the garages to the concert site were kept safe. Due to
important from our side to be working very closely with
the high standards that AES work to and the requirements
the Blink Experience Production team that we were
from the client, all elements of the site remained powered
providing the most cost effective solution in providing
throughout these downpours.”
power and temperature control and covering all of the
Martin reflected on the flourishing Saudi events market. He
requirements of the various vendors and suppliers on this
concluded: “Saudi has had some great events in 2018 and
large scale event.
we see that the event industry is growing very quickly. We
Due to this event being the first event of its kind in
expect this industry to grow further keeping in line with
Saudi Arabia, in regard to both scale and global viewing,
the Saudi development program released by Mohamed
there were many challenges that were faced by both the
Bin Salman. Aggreko has been in KSA for over 20 years
organisers and the suppliers. Changes in the design packs
and we are here to support the region with any events and
of power and cooling installation required at the different
developments that will result from the development plan.”
areas in the venue had to be submitted multiple times
BRAND: Aggreko | WEBSITE: www.aggreko.ae 053
Radius Increased.
RSX18F
RSX12
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We’re proud to announce the addition of the RSX212L line array module and RSX18F flyable subwoofer to the RADIUS Series. The two new RADIUS products provide increased versatility to the series designed for both touring and permanent install applications. See the new additions to the Radius series and meet the EAW team visit us at InterBEE 2018 - Hall 1, Booth 1301
Learn more about RADIUS at eaw.com/products/rsx-series
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04 VENUE FOCUS
AUDIO
CONNECTED STADIUMS
056 Target Field | Minnesota, USA
088 Connected Stadiums | Aperi
064 Adelaide Oval | Adelaide, Australia 070 Arena Pays d’Aix | Aix-en-Provence, France 074 Liberty Bowl Memorial Stadium | Memphis, USA
VIDEO
SECURITY
076 Bob Carpenter Center | Newark, USA
090 Allianz Arena | Munich, Germany
ESPORTS 078 eSports Round-Up | Blackmagic Design
AUDIO
TARGET FIELD Minnesota, USA
Images: Brace Hemmelgarn / Minnesota Twins, Audinate
S
itting in the heart of downtown Minneapolis,
The stadium’s premiere offerings extend beyond the seats
Target Field represents Minnesota’s dynamic
as well. To give those in attendance a truly incredible
blend of urban sophistication and outdoor
experience, the facility’s business operations looked
vitality. Built in 2010, the Major League
for ways it could deliver excellence across all ballpark
Baseball stadium is home to the Minnesota Twins,
offerings. One area where this was critical was the ballpark
with a capacity of over 39,000. The venue was designed
sound, which means high-quality audio is a major part of
specifically for baseball, though, in the past, it has also
the fan experience at Target Field.
hosted football, soccer, a wide range of concerts and
Jeff Pedersen, Lead Audio Technician, Minnesota Twins
various corporate events, making it an adaptable, go-to
Baseball, manages and operates the sound systems and
stadium for the area.
audio equipment for all games and special events. To
Target Field is a three-tier grandstand, featuring club
ensure that high-quality sound was felt right across the
seats, luxury suites, a press box and the Budweiser Roof
stadium, Jeff worked closely with Tim Habedank, AV
Deck, which includes a fire pit, bar, city skyline view,
Technical Manager at Parsons Electric, to manage and
bleacher seats and standing room.
upgrade the stadium’s audio system.
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Jeff takes up the story: “Our stadium opened in 2010 and I
enabled equipment, immediately upgrading the system by
was looking for more connectivity throughout the venue,
expanding channel counts, expanding audio infrastructure
so I started to look at Dante - and it really did start to
and reducing latency.
evolve.
Dante is a digital media networking technology allowing
“My first attempt was a failure - I didn’t realise that I
users to send uncompressed, multi-channel audio over
wasn’t going to be able to cross some of the groups or get
a single Ethernet cable. It is the defacto standard audio
support. There happened to be a class in Minnesota that I
networking solution, and has been adopted by more
attended, so it went from there.
professional audio and audiovisual manufacturers than
“There are a lot of different event spaces at Target Field
any other networking technology, making interoperability
and the activity has been growing and growing, which
easy, reliable and a true reality. With Dante as the
meant I had difficulty running XLR audio cable out the
networking solution, the team at Target Field can integrate
door. It’s always been very limited to maybe two pairs of
audio from a wide range of audio devices from multi-
audio, so I’ve had to make a lot of compromises.”
vendor manufacturers.
Target Field is certainly a large venue with multiple areas
Dante also allows Target Field to tap into the existing
around the whole facility that require audio support. This
networking structure of the field, without having to install
includes distributing audio out to various areas or pulling
extra infrastructure to get audio where it needs to go. Jeff
signals back to the control room for mixing and processing.
added wireless microphone receivers, mixers and input/
For example, live bands perform before games and during
output racks as a base for his Dante system. Prior to Dante,
breaks. So, this has to be taken into consideration by Jeff,
Jeff was limited by its CobraNet system - it was simply
who must ensure that the audio is heard throughout the
maxed out. With a Dante system in place, Target Field now
stadium.
has more than enough audio channels available.
There are many different subnets in the facility and all
“We would have a band performing on the other side of
audio transport was previously occurring over the network
the stadium, and there was very limited connectivity, so I
using CobraNet. While the CobraNet system is still in place
could only get two audio lines to use - one for an intercom
to transport DSP audio data over fibre to and from fixed
connection so we could communicate with our technician
locations, such as amplifier rooms, clubs and press areas,
located with the band, who would then send me a sub-
the system reached its maximum capability and a new
mixed signal back on the other audio line,” said Jeff. “We
solution was needed. Additionally, demand for a better fan
were able to get the job done, but it was a difficult process
experience required adding audio in areas that were not
to say the least. My dream was to have control of all of this
originally planned for audio support. To add audio to these
in front of me on my console, with separate channels for
sections, the stadium expanded with Dante and Dante
mixing. I finally got to do this by adding Dante connectivity
Domain Manager.
into the system.”
Jeff required a way to easily and inexpensively expand
The stadium’s audio system consists of a control room
the number of inputs and outputs to his main console
tied to multiple locations. There are three amplifier rooms
to provide a better fan experience, a better mix, and
supporting the stadium loudspeaker system, as well as 18
manage and control the total system. His search led him
other locations that receive audio feeds from the control
to Dante. The natural next step was to install Dante-
room.
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060
“We started by using Dante to connect the control room
as where the live band plays. Instead of adding an audio
to the band stage, and this step alone brought 16 channels
pathway and thousands of dollars of cabling, they used
from the band to my main console - a huge improvement
an existing data drop at these new locations, adding a
for us,” said Jeff. “Our plan now is to get Dante into all of
Dante input/output box and plugging it into the network.
our remote locations and bring all the control and mixing
However, these new locations were not on the same subnet
to our main control room.”
as Jeff’s control room. With some configuration and help
A portable sound system, a small rack with a digital mixer,
from the stadium’s experienced IT department, Dante
amplifiers and wireless connectivity is often used at Target
Domain Manager stepped in to bridge the various subnets,
Field, too.
easily passing Dante audio from the new locations back to
“If we need more remote support, I can easily plug in
the control room.
a network cable and jump on the Dante network to my
“At Target Field, they have a Layer 3 network at the closet,
console,” said Jeff. “There’s a lot of flexibility now in being
so that means every closet has its own subnet. The control
able to share inputs and outputs with different mixers in
room on the opposite side of the stadium was in a different
different areas.”
subnet than the live band location,” said Tim. “Dante
A Dante system allows endless audio possibilities for the
Domain Manager allows us to bridge these subnets and
stadium, as hundreds of Dante-enabled products are
pass Dante from one corner of the stadium all the way back
available and interoperable. Jeff can now mix any Dante-
to the control room and really save the day without all of
enabled loudspeaker, amplifier, microphone, mixer,
that cost of cabling.”
receiver, converter and more. And, with the addition of
On the network level, Dante Domain Manager provides the
Dante AVIO adapters, the stadium can integrate older,
ability to scale and segment audio networks, regardless of
legacy gear into Dante systems, adding to Dante’s
the physical constraints of the network. Administrators
interoperability and flexibility.
can define specific audiovisual device groupings, by room,
With a Dante system in place, Dante Domain Manager
building and site, ensuring the stadium’s audio is playing
proved to be a natural next step to the network, as it
in the correct location.
added the control and security features the stadium
Target Field works with network television broadcast
desired. Dante Domain Manager is network management
trucks during games. More and more, these production
software that enables user authentication, role-based
companies bring their own Dante systems to connect
security and audit capabilities for Dante networks, while
into the stadium’s Dante system. Dante Domain Manager
allowing seamless expansion of Dante systems over any
ensures both the visiting and stadium’s audio channels are
network infrastructure. Dante Domain Manager allowed
secure, crisp and clear.
the stadium to integrate the many separate subnets into a
“We want to protect the house Dante network to make sure
single, manageable and secure audio network.
that no one inadvertently makes changes,” said Tim.
For game producers to add to the fans’ game experience,
“Without Dante Domain Manager, that protection is not
Jeff and Tim needed to integrate audio into areas of the
possible - we essentially open up our whole Dante network
stadium that were not originally designed for audio, such
to outside companies. But, with Dante Domain Manager,
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AUDIO
we’re able to create those domains. Outside companies stay
on how to fix it. Or, Dante Domain Manager provides a
in their domain, the house network stays in its domain,
suite of auto-configuration tools to fix network issues
and we can bridge the audio between those two as needed.
automatically.
That way we can still have a lot of functionality and can
Jeff explained that while he is currently limited to a
pass as many audio channels back and forth as we want,
16x16 Dante-enabled console, a new console is in the
but we also maintain that protection of the house Dante
upgrade plan and he looks forward to expanded channel
network.”
possibilities. He also wants to extend the Dante network to
Dante Domain Manager ensures the stadium’s audio is
the broadcast trucks.
separate from the audio they grant the visitors to use,
“After our facility audio is completely networked, I want to
with robust user authentication and role assignment. With
move toward Dante and Dante Domain Manager-managed
Dante Domain Manager, Jeff can be sure the stadium’s
audio with our broadcast. Right now, we send the trucks
audio runs smoothly and is free of unwanted changes and
a full audio program, and they return a full program. We
modifications.
need to get to where we can send just selected channels
“Before Dante Domain Manager, what I wanted to do was
or sub mixes,” added Jeff. “We’ve always had difficulty
not really possible: the cost would have been prohibitive
transferring things back and forth from the trucks to our
and the time spent patching and running cables wasn’t
control room, and it almost takes six people to do it. This
feasible,” explained Jeff. “One of the things I can do now
whole process will be much easier when the trucks can
is send 16 channels of audio to almost any place in the
simply pull either the live or recorded audio of what they
stadium up to the control room. It is very liberating.”
need from our Dante audio network.”
As the system becomes larger and more complex, the
Whether it is a concert, football game, soccer game or
Dante Domain Manager dashboard helps engineers keep
Major League Baseball showdown, Dante and Dante
tabs on devices and user-made changes. The dashboard
Domain Manager deliver near-perfect, near-zero latency
provides the critical information with at-a-glance reports,
audio to the more than 39,000 spectators. Target Field
audit trails and SNMP-driven alerts. Additionally, Dante
administrators can rest easy knowing its network is secure
Domain Manager steps in to fix problems with its error
and efficient while delivering the live sound, recorded and
logging feature that shows an issue and offers suggestions
broadcast audio performances required to take fans out to
SYSTEM INTEGRATOR: Parsons Electric | BRANDS: Audinate, JBL | WEBSITES: www.parsonscorp.com, www.audinate.com, www.jblpro.com 062
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ADELAIDE OVAL Adelaide, Australia
Images: L-Acoustics
T
he historic Adelaide Oval has been described
undisputed, even now, as it is currently used as the
as one of the most picturesque test cricket
headquarters to the South Australian Cricket Association
grounds in Australia, if not the world. Built
(SACA). And its sporting credentials don’t stop there,
in 1871, the ground has played host to many
as the 53,000-capacity venue is also home to the South
iconic cricket matches including the first ever first-class
Australian National Football League (SANFL) and has
cricket match that was won by South Australia in 1877.
hosted Australian Rules football, rugby league and union,
Its importance on the international cricket circuit is
soccer and tennis, as well as regularly holding concerts.
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It has three stands, the Western, Eastern and Southern
Supporting WJHW Designer Greg Swindle, the L-Acoustics
or Riverbank Stand, all constructed as part of a major
applications team provided electromechanical and system
refurbishment completed in 2014. Without losing any
support, with L-Acoustics’ proprietary Soundvision
of its original, archaic character, the Riverbank Stand
software used to determine the positions and configuration
boasts a new L-Acoustics KARA system, supplied by
of the arrays.
Jands, L-Acoustics certified provider distributor for the
“Soundvision gives an extremely accurate prediction of
region. The KARA system delivers improved coverage and
coverage, SPL and electromechanical parameters and
intelligibility, all without the need for expensive acoustic
was a useful tool for the WJHW design team to verify
treatment. Its flexibility means it fits any sound design
rigging points and system configuration,” explained
with ease, making it ideal for a project like the Adelaide
L-Acoustics Head of Integration, Dan Palmer. “The
Oval.
rigging requirements were well detailed and, in turn, the
Other features that added to the success of the KARA
Soundvision model generated by Greg was used to confirm
system was the full range performance. This feature means
coverage, SPL, and sight lines, and that all design and
the system is capable of reproducing high impact low
performance goals were met.”
frequency for the most energetic sporting events. An install
Local specialist, Novatech Creative Event Technology
version with streamlined rigging and a custom colour
was initially asked to supply a demo system, which the
palette also allows KARA to adapt to any install, which calls
venue reviewed over a two-month period. It proved so
for architectural discretion and a larger focus on the clients
successful that they were subsequently engaged to install
personal, aesthetical needs.
the permanent system, which comprises of three hangs of
The 14,000-capacity Riverbank Stand’s 12 storeys are
eight KARA in an L-C-R configuration, one hung centrally
covered by a single curved roof, which has complex rigging
at the front of the stand’s roof, and the other two hangs
requirements. US-based acoustic design and consulting
positioned equidistantly to either side. All are finished in
firm Wrightson, Johnson, Haddon & Williams (WJHW)
white to blend with the architecture of the stand.
was brought in to recommend a system for its upper tier
The system is powered by six LA4X amplified controllers,
audience areas and determined that KARA would be the
mounted in a custom designed rack located in a
ideal solution. With a throw distance requirement in excess
temperature-controlled room and running on a UPS.
of 50-metres in some audience areas, KARA provides
“The acoustics of the stand are challenging, particularly
coverage and SPL for the entire upper tier audience in a
because of the dome structure roof, which causes large
high performance yet lightweight package.
reflections,” said Novatech’s James Sacca. “The directivity
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from the KARA system meant that we could reduce
made it possible for us to deliver a system that does
reflections and increase intelligibility, and the positioning
exactly what is needed of it and more,” James concluded.
and angles of the speakers achieves a uniform SPL across
“Everyone is ecstatic with the result. The influx of un-
the audience area, which is exactly what was needed.”
prompted feedback from the general public after the first
The system also integrates into the emergency evacuation
event with the new installation was a real testament to its
system and existing QSC Q-SYS control system, thereby
success.”
doubling as an essential component of the venue’s voice alarm system, enabling delivery of clear, intelligible instructions to guests in the event of an emergency situation. James noted that the infrastructure posed additional challenges, including the production of custom loudspeaker brackets, which had to be engineered to suit the mounting, positioning and angling requirements of the arrays. He added that the location of the installation, with fixing points situated over 35-metres from ground level, was probably the most difficult element of the job. “The collective pool of expertise and cooperation between the teams at Jands, WJHW, L-Acoustics and Novatech
DESIGNER & CONSULTANT: WJHW | INSTALLER: Novatech Creative Event Technology | DISTRIBUTOR: Jands | BRANDS: L-Acoustics, QSC | WEBSITES: www.wjhw.com, www. ncet.co, www.jands.com.au, www.l-acoustics.com, www.qsc.com 068
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ARENA PAYS D’AIX Aix-en-Provence, France
Images: © Aldo Amoretti
H
070
andball arena, Arena Pays d’Aix is located on a
where the front of the arena sits - hovering above another,
freeway intersection in the south west of Aix-
arranged with a much stronger shift towards the forecourt
en-Provence, France. Although primarily used
than to the other sides, forming a large canopy to welcome
for sports - being the home venue for Pays
visitors. The structure was constructed by building
d’Aix University handball club, which competes in Division
company, Fayat.
1 of the Ligue Nationale de Handball - the multiple-
Inside in The Cauldron, Christophe’s vision continues,
purpose venue is capable of hosting a wide range of events.
where a modular format allows the 4000 sq metres
There are a number of different spaces within the arena,
of interior space to offer 17 different configurations,
including an exhibition room, the concourse and the annex
depending on the type of event being hosted. It can seat
room, as well as the main room - unofficially nicknamed
between 6,000 to 8,000 spectators, depending on the
The Cauldron.
layout - and it can be configured to host a wide range of
The arena was designed by architect firm, Auer Weber,
events (aside from handball) including tennis, wrestling,
in conjunction with architect, Christophe Gulizzi. The
indoor motocross, live concerts, ballet and many more.
exterior façade is made up of metallic ellipses stacked
The venue’s interior designer, Kanju, commissioned
like layered contours, disguising the front and back of the
consultants Solus3 to design the audiovisual systems. Solus
building, as every side of the façade is treated equally. Only
3 approached Aix-en-Provence-based systems integrator
the differently arranged ellipses indicates to the guests
Société Texen to deliver a solution where flexibility and
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AUDIO
quality were the most important features. Texen’s Thomas Goeuriot recommended a Dante-
“Coverage and intelligibility were really important and Nexo provided the best technical solution. The GEO S12 loudspeakers cover low enough frequencies without needing subwsoofers and they provide seamless coverage to every seat.” Thomas Goeuriot
networked Yamaha and NEXO system, which is centred on four ‘nodes’ installed throughout the venue, each comprising a system rack with a MTX5-D matrix processor, XMV Series amplifiers, 24 port switches and, where required, Tio1608-D I/O racks. All areas apart from The Cauldron feature Yamaha loudspeakers, including VXC5F-VA (voice evacuation model) and NS-IC400 ceiling loudspeakers, VXS1ML and VXS3FT compact surface mount models. In The Cauldron, 30 NEXO GEO S12 loudspeakers deliver high quality sound to sport and event audiences. Arrayed as 10 flown clusters of three around the edge of the arena floor, they are powered and controlled by NXAMP 4x4 and NXAMP 4x1 amplifiers. “Many manufacturers approached us to provide the Cauldron system,” said Thomas. “Coverage and intelligibility were really important and NEXO provided the best technical solution. The GEO S12 loudspeakers cover low enough frequencies without needing subwoofers and they provide seamless coverage to every seat.” Meanwhile, in addition to the installed VXC5F-VA and NSIC400 ceiling models, the Salle Annex features four CBR15 loudspeakers, driven by P7000 amplifiers, for added audio
071
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power and depth for sports training sessions, plenary
said Yamaha’s Pascal Bessenet. “The entire audio system
sessions and other events.
was single-sourced from the Yamaha and NEXO family,
A TF5 digital mixing console was also supplied, which
delivering not only high quality sound, but exceptional
can be plugged into the system for local mixing in any
flexibility and reliability. We know these qualities will
area. The press room features a pair of VXS8 loudspeakers
serve the Arena well for many years to come.”
for event monitoring, with the system also providing broadcast I/O. “Arena Pays d’Aix has the most modern, high quality facilities installed throughout and the audio system is fundamental to delivering the best experience to all users,”
ARCHITECTS: Auer Weber, Christophe Gulizzi | CONSULTANT: Solus3 | INSTALLER: Société Texen | BRANDS: NEXO, Yamaha | WEBSITES: www. auer-weber.de, www.gulizzi.com, www.texen.fr, nexo-sa.com, www.yamahaproaudio.com 072
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F1_stadia_ad_Aug2018.pdf
1
02/08/2018
16:57
LIBERTY BOWL MEMORIAL STADIUM Tennessee, USA
Images: Just Add Power
O
074
riginally opened in 1965 as Memphis Memorial
of technologies from Pro Audio Technology, AudioControl,
Stadium, the venue, now known as Liberty
and Episode plays dynamic audio tracks loud and clear
Bowl Memorial Stadium, can seat just under
around the entire space.
58,000 fans / visitors and is home to the
When it came to audiovisual distribution, the university
University of Memphis Tigers, Southern Heritage Classic
required a cost-effective and reliable system to deliver
and AutoZone Liberty Bowl. In addition to football, the
any of the video sources to any display or video wall.
venue accommodates other events such as concerts, family
Furthermore, the set-up had to be exceptionally simple
shows, band competitions and corporate events.
for facility managers to use, and easily expandable to
There are multiple venues and event spaces in and around
include any additional displays - or sources - as the Tigers’
the complex including individual events spaces located
budget or needs changed. The latter point was especially
in the Recruiting Lounge, Stadium Club and Media
important, because in addition to the 15 screens in the
Work Room, as well as the Pipkin Buidling that houses a
system, the locker room also features 105 standalone
convention space, Tiger Lane for festivals and outdoors
displays - one above each locker - that show each player’s
events, and the Stadium’s Multipurpose Room. Over the
name, picture, and number, in addition to three additional
years, each of the spaces have received various upgrades,
touchscreens.
but the latest to be given such attention was the locker
For the audiovisual distribution system, Miestro chose Just
room within the main stadium. Utilising giant displays,
Add Power’s (J+P) 3G Ultra HD Over IP system, supported
video walls, and audio and lighting systems to create
by a Luxul PoE switch. Delivering Ultra HD video signals
a unique atmosphere, the revamp was carried out by
over IP with an ultra-low 16 ms of latency from source
Memphis-based, Miestro Home Integration.
to screen, while leveraging the facility’s common IP
The university’s revamped locker room is packed with
infrastructure, provided the University with an affordable,
screens of all sizes, including four two-panel video walls
high-quality video distribution system that could be
in horizontal and vertical orientations, a three-panel
adapted to the variety of displays and sources in the locker
vertical video wall, a 117-inch projected image, a 98-inch
room. Widely deployed in ballparks, arenas, command
display, a 75-inch touchscreen in the coach’s office, and a
centres, and many other installations, the 3G Ultra HD
65-inch display in the medical bay. Video sources consist
Over IP platform removes the limitations and expense
of a live feed from the field during games, four media
of traditional matrixes and replaces them with a more
players that deliver custom graphics and video provided
scalable, flexible, and reliable approach.
by the university, a Comcast cable box, and a direct feed
“In the past we utilised traditional chassis-based matrix
for a local laptop connection. A sound system comprised
systems for video distribution, but have made the switch
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AUDIO
to AV over IP,” said Lamar Gibson, President of Miestro
which facility managers can initiate with a single button
Home Integration. “Among the solutions available, we’ve
press.
consistently had tremendous success with Just Add Power.
The finished locker room welcomes players and recruits
Not only is the company’s 3G Ultra HD Over IP system
with a light show, accompanied by music pumping from
cost-effective, but it delivers outstanding scalability,
the audio system and video playing on a 98-inch display. A
fast switching, and unmatched reliability. And all these
large display case houses mannequins wearing the various
benefits are bolstered by outstanding design and technical
Tiger uniforms, standing before a 117-inch projected image
assistance from Just Add Power when needed. It’s the
is also a focal point. The locker room itself is divided in
perfect solution for projects of any size.”
two. On the right are two 2x2 horizontal video walls, while
The University’s J+P system supports 4K Ultra HD
on the left is a three-display vertical video wall, which
resolutions and HDMI 2.0 devices with HDCP 2.2. It enables
wraps around the corner so the image ‘bends’ as people
seamless switching between any resolution HDMI source
walk through the locker room. Each side has access to a 75-
(2160, 1080, 720,576, 480, interlaced or progressive) as
inch touchscreen for play creation.
well as uncompressed lossless multichannel audio formats
During games, the video walls and other displays show
including Dolby Atmos support. Video wall functionality
highlight reels from the previous week to amp up the
is built-in for displays installed in portrait and flipped
team, while displaying custom banners for inspiration.
configurations as well as image push, pull, and pop
For recruits in the off-season, the focus is put entirely on
features. An integrated scaler on the receiver automatically
the individual. The 117-inch image and 98-inch display
adjusts the picture to fit the screen.
in the central area showcase the recruit’s stats and other
Each video source in the Tigers’ locker room is equipped
information. Personalised highlight reels are shown as
with J+P’s VBS-HDIP-707 transmitter, while the fourteen
they walk through the facility, set to custom audio. This
displays and one projector are outfitted with VBS-
allows them to see themselves making the key plays that
HDIP-508 PoE receivers. The Ultra HD Over IP platform is
have defined their careers to that point, while getting them
engineered to provide complete scalability, so expanding
pumped up to make new ones as a Tiger.
the system with an additional screen or source is as simple
“Just Add Power was the perfect solution for this
as adding another receiver or transmitter. With an eye
installation. It made it simple to display multiple images,
on future expansion, the standalone locker displays and
videos, and customised content on a variety of video
touchscreens have been pre-wired for inclusion in the J+P
walls and displays, while allowing for easy expansion to
system.
include additional sources and screens in the future as
Control4 touchscreens and keypads are wall-mounted
the University’s budget permits,” added Lamar. “The
in strategic locations to provide facility managers with
response to the system has been overwhelmingly positive.
control over the entire system using pre-programmed
The facility is on par with most NFL spaces, and players,
scenes that launch specific video, music, and lighting in
coaches, and recruits recognise that. The Tigers’ 2019
a timed sequence. To achieve this, university program
recruiting class is looking to be the best in the school’s
managers upload new video content each week and tell
history, and I have no doubt that this renovation played a
Miestro which songs will be needed and when and how
key role in recruits’ decisions.”
long they should play. Miestro creates the custom playlist,
INSTALLER: Miestro Home Integration | BRANDS: Just Add Power, Comcast, Pro Audio Technology, AudioControl, Episode, Luxul, Control4 | WEBSITES: maestrointegrations.com, justaddpower.com, proaudiotechnology.com, www.audiocontrol.com, www.luxul.com, www.control4.com 075
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VIDEO
BOB CARPENTER CENTER Delaware, USA
Images: Daktronics
B
ob Carpenter Center is a 5,100-seat multi-
a square-shaped system above the playing surface. The
purpose arena, in Newark, Delaware, named
main four displays each measure nearly 9.5ft high by
in honour of its benefactor and trustee, Robert
16.5ft wide to show true high-definition imagery. Filling
Ruliph Morgan Carpenter Jr - the former
the space between the main displays, four-curved corner
owner and club president of Major League Baseball team,
displays each measure nearly 9.5ft high by 5ft wide to
the Philadelphia Phillies.
bring a complete 360° viewing experience. Below the main
Nicknamed ‘The Bob’, the arena opened in 1992 and
displays, a ring display circles the configuration measuring
was designed by HOK Sport (now known as Populous),
2ft high by 50ft in circumference.
the construction of the building cost $20.5 million. In
All centerhung displays feature 6mm line spacing to bring
late 2010, the university added two full-size basketball
excellent image clarity and contrast to Blue Hens fans at
courts, new offices and locker rooms for the basketball and
every event.
volleyball programs, as well as a new entrance plaza.
The four main displays are capable of variable content
The arena is home to the University of Delaware Blue Hens
zoning allowing each to show one large image or to be
basketball teams - men and women - who recently had a
divided into multiple zones to show any combination of
new system installed to enhance the game-day experience
live video, instant replay, up-to-the-minute statistics,
for volleyball and basketball fans for the upcoming season.
graphics and animations, and sponsorship messages.
Daktronics partnered with the University of Delaware
“Daktronics is once again excited to team with the
in conjunction with IMG College to bring a new LED
University of Delaware to provide a state-of-the-art
centrehung display system to the arena.
product to enhance the overall fan experience,” said
“The addition of the Bob Carpenter video board pushes our
Fran Kulas, Daktronics Sales Representative. “The Bob
game-day atmosphere to another level,” said Zak Grim,
Carpenter Center is a fantastic venue for athletics as well
Assistant Athletic Director of Game Presentation and Fan
as other special events, and with the addition of this
Experience for University of Delaware. “It allows us to
new centerhung, Daktronics is thrilled to play a part in
entertain Blue Hen fans at all our home games with a more
revitalising this special facility.”
diverse content package and a more robust game-day experience. Additionally, it continues to showcase why the Bob Carpenter Center is one of the premier entertainment destinations in the area.” The centerhung features nine individual displays forming
BRAND: Daktronics | WEBSITE: www.daktronics.com 077
ESPORTS
BLACKMAGIC DESIGN ESPORTS ROUND-UP Images: Blackmagic Design
W
ith the eSports industry growing at such a rapid pace, the technology for dedicated eSports venues and events has to be of the highest standard - particularly when it comes
to broadcasting the live streams. Blackmagic Design has been involved in numerous eSports projects, delivering solutions for the popular industry events and venues. Paris Games Week ESL UK relied on a multilayered Blackmagic Design live infrastructure for content production, playout and distribution, to deliver big screen coverage and multiple live streams at Paris Games Week for Sony Interactive Entertainment’s FIFA 19 Continental Cup. The three-day professional tournament pitted 32 of the world’s top gamers against each other in a bespoke event auditorium, with ESL UK handling a 17-strong multicam production, which covered the central gaming arena, multiple commentary zones, a studio set, tiered audience seating and a full production gallery. Tasked with keeping those at the show and those watching across the world up to date with all the action, ESL UK produced four program (PGM) mixes: two English language mixes and an LCD screen on the main ATEM 4 M/E Broadcast Studio 4K and a French language feed was produced simultaneously on ESL’s flyaway PPU, with an ATEM 2 M/E Production Studio 4K as its production hub. “The main program feed included gameplay, graphics, talent and advertising content and this was delivered through the main ATEM 4 M/E switcher, paired with an ATEM 2 M/E Broadcast Panel. However, we also needed a feed for some broadcast partners, which eliminated certain camera signals and promotional content,” explained Sam Deans, Executive Producer, ESL UK. “To create this, we deployed M/E 3 as a substitute matrix bus, which automatically cut to various signals, dependent on the live source of M/E 1, using a custom control program.” Four Micro Studio Camera 4K were positioned in front of competitors, acting as gamer cams to deliver players’ emotions and immediate reactions during each match. Together with camera feeds covering players, presenters and commentator spaces throughout the arena, ESL UK
ESPORTS
also managed four channels of VT playback and instant
and video specialist, Jon Pratchett, needed a small, discreet
replay, relying on a bank of DeckLink Quad 2 I/O hardware
but high quality camera that would be easily mountable
to handle multiple video signals simultaneously.
on a specialised gaming chair on stage, in order to capture
“Our live streams from Paris Games Week were the
Vikkstar’s reactions.
first eSports broadcasts for the newly released game, so
“The Blackmagic Micro Studio Camera 4K was perfect
delivering a high quality, multifaceted live production
for this,” said Jon. “The image quality from such a small
was absolutely critical,” Sam concluded. “With so many
package is incredible, and easily matched up with the more
content elements to cut between to make sure viewers
expensive cameras we were using for filming wider action
could see every kick, tackle and shot in real time, we had to
shots, showing the screens, Vikkstar’s movements and live
have complete faith in our live equipment. Our Blackmagic
gameplay.”
workflow allows us to broadcast complex, multilayered
Camera signals were fed into an ATEM 2 M/E Production
programming that gives gaming fans access to everything
Studio 4K for vision mixing. “The ATEM switcher’s
that the players themselves are experiencing.”
SuperSource is invaluable on esports environments like this,” Jon added. “Instead of having to run keys or DVEs,
080
Huawei Global Mobile Broadband Forum
the ability to just put the composition on one button and
At Huawei’s Global Mobile Broadband (MBB) Forum, the
cut it up like any other feed is brilliant.”
world’s first 4K esports live stream over 5G was delivered
The different content feeds were then sent out via the six
with a mast from mobile network, Three, and a Blackmagic
aux outputs to a variety of screens such as two monitors
Design live workflow.
facing the audience, running logos and animated
The eSports live stream, featuring YouTuber, Vikkstar123,
sequences, and shifting to gameplay as the action on stage
playing Fortnite Battle Royale, was the perfect medium to
kicked off.
demonstrate the speed and quality of 5G. Freelance audio
The live transmission that was relayed over the 5G
WWW.MONDOSTADIA.COM
ESPORTS
connection was encoded directly to YouTube in 4K 30fps at
decision to embed it at the core of everything we do here at
30Mbs. “I was really impressed with the speed and ease at
ESL.”
which we could deliver this stream,” Jon commented. “And
An instant replay server ingested four live video feeds and
I’m looking forward to seeing how the 5G mobile network
outputted a single feed in 1080p 59.94 back to the main
progresses, especially for live broadcasts. Combined with
production unit, where two ATEM 2 M/E Production Studio
a professional system such as Blackmagic Design’s, it will
4K switchers worked in tandem to produce the program
open up an endless amount of opportunities.”
mix for broadcast. “Then the primary switcher took live camera feeds,
League of Legends European Masters
broadcast graphics and video game signals, and this
ESL delivered the inaugural live finals of the League of
was vision mixed on the ATEM 2 M/E Broadcast Panel.
Legends European Masters, with a bespoke playout system
When you are dealing with more than 18 sources and two
built with a series of DeckLink Quad 2 capture and playback
independent fill and key graphics channels in such a rapid
cards.
and pressurised environment, having the panel in front of
The playout solution handled a unique and complex live
you brings a real confidence to the mix,” added Sam.
program mix, vision mixed on a live production workflow
A second switcher operated by an ATEM 1 M/E Advanced
built around the ATEM 2 M/E Production Studio 4K
Panel created a submix of 10 POV cameras, which are
switcher, to a live audience, and to millions watching the
used to capture player reactions during the tournament,
championship’s live streams worldwide.
and then sent a submix back over two SDI outputs to the
“eSports broadcasting is rewriting the rules for content
primary switcher.
production, however, as with many developing industries,
“The live production at League of Legends simply
off the shelf solutions can often be out of the production
would not have happened without Blackmagic Design,”
team’s budget, or may fail to meet all of the technical
concluded Sam. “Not only do products like the DeckLink
demands of multilayered, multi source layouts that are
cards lower the barriers of entry to ultra high end
needed for major tournaments,” explained Sam Deans of
broadcast production, but they also help us to solve
ESL UK.
specific challenges as we continue to rewrite the rules for
When ESL set about designing the architecture for such a
content production and live broadcast in the digital space.”
vast production, Sam knew Blackmagic Design would play
082
a pivotal role in the production workflow.
Red Bull Gaming Sphere Tokyo
“We have developed our own custom built solution for VT
wwRed Bull Japan is using Blackmagic Design’s ATEM
playout, instant and slow motion replay, on air fill and key
Production Studio 4K live production switcher and ATEM
motion graphics and driving dynamic scenic LED screens,
1 M/E Broadcast Panel hardware control panel for the
all of which rely on the DeckLink Quad 2 I/O hardware. Its
broadcasting of eSports at the Red Bull Gaming Sphere
ability to handle eight video signals simultaneously from a
Tokyo event space. To provide the live streaming of
single card is a hugely powerful feature.”
games, Red Bull is also using a workflow built around
Sam continued: “Whether turning to existing ‘off the
other Blackmagic Design products, including Micro
shelf’ software or developing our own solution, it’s
Studio Camera 4K, Studio Camera 4K, Video Assist 4K and
becoming more and more apparent that built-in DeckLink
HyperDeck Studio12G.
support is the first choice for developers and reinforces our
Through the space, which has held more than a 100 events
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ESPORTS
since opening, Red Bull offers a place where gamers can
“After importing the base of the scoreboard to the ATEM
fight face to face. The Red Bull Gaming Sphere Tokyo
Production Studio 4K’s media player, I can combine it in a
is Red Bull’s first gaming space in Asia and includes
chroma key with green screen material, such as numbers
community space for players, developers and publishers to
created in real time. Also, when it comes to a big event, I
build gaming scenes, with gamers gathering together for
find the ATEM Production Studio 4K’s SuperSource feature
tournaments and other events.
very useful. Since SuperSource enables you to create an
Tokyo’s Groovesync was entrusted with the management
image arranging up to four sources and a background, I can
and installation of the equipment of Red Bull Gaming
composite pictures of the players’ face on the game screen.
Sphere Tokyo. Groovesync has been working in the
When streaming a gaming match, this type of layout is
Japanese game scene with Red Bull since 2012 - it created
popular, and ATEM 2 M/E Production Studio 4K is essential
the Red Bull Gaming Sphere Tokyo project not only for
in a major gaming event.”
holding regular events and tournaments, but also to
Yu concluded: “All equipment that carries out events
support the players on the daily basis.
such as cameras, switchers, recording equipment, etc. are
To capture game play, three Blackmagic Studio Camera 4K
prepared, and the gamer hosting the event operates the
are used to shoot commentator and players one and two.
equipment. Most gamers have never touched professional
Feeds from these cameras and images of game screens are
quality equipment.
sent to the ATEM Production Studio 4K for live switching.
“In teaching gamers live streaming and knowledge of
The final output switched by the ATEM Production Studio
equipment, Blackmagic products that can be delivered
4K is then distributed live and recorded by HyperDeck
with professional quality while being simple in operability
Studio 12G. Video of the game itself is sent before switching
was very compatible with our needs. I hope that from the
from the game machine to a Blackmagic Design Video
project of Red Bull Gaming Sphere Tokyo, the Japanese
Assist 4K for recording and monitoring of the game screen.
gaming scene will be more exciting.”
Five Micro Studio Camera 4Ks are installed on the ceiling to capture the entire set of play and sent to a large monitor for live audience viewing at the event hall. “Micro Studio Camera 4K has a very compact camera body, so it can be installed in various situations. It is also ideal for shooting the player’s expression. Another advantage of the Micro Studio Camera 4K and Blackmagic Studio Camera is that Micro Four Thirds lenses can be used and they can also be operated remotely. Blackmagic products are very versatile,” said Yu Matui, CEO at Groovesync, inc. Masahiro Yamana, Assistant of Groovesync, inc. added:
BRANDS: Blackmagic Design | WEBSITES: www.blackmagicdesign.com, play.eslgaming.com/uk, www.groovesync.com 084
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WITH THANKS TO OUR SPONSORS AND SUPPORTERS...
WITH THANKS TO OUR SPEAKERS ...
DAN GOLDSTEIN
JAMES KEEN
JONAS DJIAN
JUAN IRAOLA
LUKAS BUHL
MARTIN IZZARD
MIKE HEDDEN
SCOTT WILLSALLEN
STEPHEN HOGG
THIERRY CHAPITEAU
ENQUIRIES FOR AGORA 2020 S.HUGHES@MONDIALE.CO.UK
DIALING DOWN THE TV COMPOUND: HOW CONNECTED STADIUMS DELIVER MORE EFFICIENT REMOTE CONTENT PRODUCTION By Joop Janssen, CEO at Aperi
Images: Aperi
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CONNECTED STADIUMS
T
he introduction of several new technologies
estate to monetise through things like entertainment,
means that televised live sports are more
hospitality, retail, customer services or premium car
engaging than they’ve ever been for fans. For
parking.
this to continue, however, content producers
Additional events could also be scheduled, because the set-
need a more efficient way to create live programming than
up and break-down times are much shorter. A connected
the traditional method of taking an expensive outside
stadium’s plug-and-play nature means operators can
broadcast truck to each event.
turn up, position the cameras and simply switch on as
The ability to create live video networks between venues
opposed to mobile facilities that can take several days to be
is providing this more effective way of working. With the
operational. And the benefits are not only these immediate
right connectivity in place, sports stadiums themselves
ones. Because these networks are enabled by software-
become resources and allow for a much better way to
based media processing, resources are futureproofed in
create live programming.
a way hardware can’t be. Software is easy to update with new versions instead of bulky hardware that needs to be
Stadiums provide a new live production business model
physically replaced when it reaches the end of its shelf life.
It seems that every new sports stadium boasts the title
Software resources can also be dialed up and down
of the most technologically-advanced venue. That is
immediately without needing to continually deploy new
until the next one is opened. The technology that’s being
equipment. This means that whether it’s six or 20 camera
implemented into sports stadiums - whether as part of
feeds being captured; video signals are transported with
new builds or venue refurbishments - is a key part of a new
low latency using software to the two main production
business model for live sports producers.
hubs in the same way.
In-venue networking allows teams and stadium operators to better engage with fans because they can easily
Opening new opportunities
distribute audio, video or promotional content to screens
It’s not just broadcast content producers that can
all around the venue. But using it to its fullest potential,
benefit from this new kind of production network. The
connectivity also makes it easier for rights holders or
leagues, teams and governing bodies are also able to take
distributors to create live programming.
advantage, using it to implement new processes or simply
As such, sports stadiums themselves will increasingly
grow their respective sports.
become one of the most important components in the
Video officiating is a great example of the many benefits
production process. With software now able to replace
that this new way of working can bring to stadiums. More
bulky hardware within live production processes,
and more leagues are implementing video refereeing
broadcasters no longer need to take such a comprehensive
systems to support their match officials. With a multi-
mobile infrastructure to each venue for every event.
venue production network, they can centralise operations.
Multiple sports stadiums can instead be connected to act
The software-nature of this kind of network means it
as end-points in a production network. These all then feed
reduces the delay in signal delivery to just milliseconds, so
into a central production centre. It’s only really cameras,
delays relating to video refereeing are kept to a minimum.
microphones, talkback and few other pieces of equipment
And having a central officiating hub creates consistent
that need to be set-up inside the venue for the event -
video officiating across games.
almost everything else can be done remotely.
Organisers of smaller niche sports are also in a great position to benefit from better-connected stadiums. If a
Adopting new trends
venue is already connected to a production hub, the costs
Using this business model, location plays less of a part in
of creating high-quality programming are significantly
how TV is made and the technology inside venues plays
lower. This makes it a much more attractive prospect for
more. Several key early-adopters are already taking
live sports distributors to invest in.
advantage of this new way of working. For example, an intelligent multiple-stadium network that connects
The importance of today’s stadia
nearly 35 sports venues is now in operation in Australia.
With access to more effective production resources,
This comprehensive network allows operators in two
content creators can output better live programming with
production hubs in Sydney and Melbourne to create live
higher-resolutions and the most engaging features. And
programming from up to five venues at any given time.
the sports stadium remains at the heart of that, becoming
Not only does this save the associated operating costs of
a much more significant part of the overall operation.
sending equipment around the country but also of needing
The role of a sports venue - while continually evolving
to build additional large production trucks to cope with any
- has remained largely the same. They bring people
increase in demand.
together to experience something live and as a collective. Implementing a multi-stadium production network
The benefits of software - connected venues
like this allows for even more people to take part in the
This space-saving is just another benefit of the adoption of
excitement and engagement of the in-stadium experience
software-driven networks. The space usually reserved for
at a fraction of current costs.
the TV compound can be reduced fairly comprehensively. That provides stadium operators with more prime real-
089
SECURITY
“It’s our ambition always to be a step ahead of the market.” Hugo Rohner
ALLIANZ ARENA Munich, Germany
Images: SKIDATA
A
s the world of technology continues to advance
With the SKIDATA solution, a stadium operator is now
in all forms of modern day life, SKIDATA,
able to generate contactless tickets from their in-house
an international leader in the field of access
system, enable customers to add them securely to iPhone
solutions, has announced a collaboration with
or Apple Watch and admit visitors at the gate. In addition,
the Allianz Arena in Munich, Germany. This will make the
classic paper-based tickets are still supported, as are all
stadium, the first in the country to go contactless with
the other existing ticket formats.
access via an iPhone or Apple Watch.
“We are thrilled that Allianz Arena, home of FC Bayern
Allianz Arena, the home stadium of Bundesliga giants,
Munich, in partnership with SKIDATA, is the first venue in
FC Bayern Munich, with the help of SKIDATA is now
Germany to offer contactless ticket access via the iPhone
offering its visitors a fast and convenient way to access the
and Apple Watch,” explained Jürgen Muth, Managing
grounds without the need for paper tickets or even mobile
Director of Allianz Arena München Stadion GmbH.
apps. Fans simply hold their iPhone or Apple Watch up to
SKIDATA’s open platform can verify tickets not just
the SKIDATA NFC reader for lightning fast, hassle-free
via NFC, but also by using barcode or RFID technology.
entry. “It’s our ambition always to be a step ahead of the market,” said Hugo Rohner, SKIDATA’s CEO. “Our ultimate strong point is our ability not just to deliver the necessary hardware but also to provide software, including secure ticket delivery, that’s specifically tailored to the needs of the customer. We provide the all-in-one package. Today, 85% of admission tickets are paper-based, with electronic tickets accounting for the remaining 15%. That’s going to change over the next few years.”
BRAND: SKIDATA | WEBSITE: www.skidata.com 090
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EVENT DIARY
094 Danley
113 Conferences & Exhibitions
096 Panasonic 097 Peavey 100 Riedel 101 NEXO
BUSINESS
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102 AGORA | Amsterdam, The Netherlands
114 Lukas Buhl, TW AUDiO
106 ISE | Amsterdam, The Netherlands 110 Panasonic Experience Centre | Bracknell, England
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DANLEY SOUND LABS | JERICHO ericho is the second-generation of Synergy Horns from Danley Sound Labs. There were often multiple woofers and midrange devices in a single first generation horn, but the limitation was the single compression driver at the apex of the horn. In order to build higher power full-range Synergy Horns, Tom Danley had to find a way to combine the output of multiple compression drivers as well. Up until this time, no-one had been able to get compression drivers to couple over their entire range. The first Jericho, the J1, featured 15 drivers - six 18-inch woofers, six six-inch mid-range drivers and three 1.4-inch high-power compression drivers, coupled together through an ingenious isophasic combiner that made it possible for the J1 to produce levels in excess of 145dB SPL from 47Hz to 18KHz. The J1 debuted in Nevada in 2010. Immediately, calls began coming in from stadium audio providers asking about availability and within two months, the first Jericho stadium install was complete - LaVell Edwards Stadium in Provo Utah. Danley used just four J1’s to cover over 63,000 football fans in this outdoor stadium. Following the successful J1, was the J2, a 90º by 60º Synergy Horn with 42 drivers, 12 of them one-inch high-frequency compression drivers. The J2 does much of the heavy lifting
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in Mercedes Benz Stadium in Atlanta, Georgia. Next came the J3, it features 18 drivers in one horn and produces levels in excess of 140dB SPL. The J3 is used in multiple stadiums - perhaps the most impressive use of the J3 is in Powell Hall, the home of the St. Louis Symphony Orchestra. The St. Louis Symphony chose the J3 strictly on the basis of its sonic performance. The J4 - offering 30º by 10º - is perfect for when you need to project high frequencies long distances. A total of 64 compression drivers sharing a single horn produce levels in excess of 148dB SPL from 600Hz to 12KHz. The J5 Caleb is a monster - its 40º by 15º horn stands 10ft tall and weighs a ton. Inside are 108 drivers coupled into a single horn. The J5 is capable of astonishing levels and pattern control unmatched by any other loudspeaker. Inside Kinnick Stadium in Iowa City, Iowa, the J5 projects sound from one end of the football field to the far seats over 700ft away. The newest member of the Jericho family is the J6, featuring 24 drivers in a new, more efficient combiner, this 40º by 20º Synergy Horn, capable of levels in excess of 148dB, is being used in multiple long throw applications. www.danleysoundlabs.com
Left to Right: J1 ISO with front grill, J3-94 in white, J6 white ISO.
EXTRA TIME
Panasonic | PT-RQ50K anasonic has announced the launch of the world’s first single body 50,000 lumens threechip DLPTM SOLID SHINE laser projector with true 4K resolution, providing new potential for creating transcendent experiences across live events and themed entertainment. The PT-RQ50K maintains Panasonic’s trend of creating projectors, which combine high brightness with relatively compact dimensions simplifying installation, especially important when working under time constraints at large events. Additionally, a single RQ50K offers the same potential as multiple lower brightness projectors, saving on installation and setup. The RQ50K combines 50,000 lumens brightness with ultrasharp native 4K resolution in an easy to handle all-in-one body. In addition, the deployment of separate red and blue SOLID SHINE laser-phosphor drives ensures an advanced level of colour reproduction, providing vibrant and immersive images to engage audiences. “The increasing popularity of experience orientated projection in live events and the themed entertainment
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sector was a key consideration behind the development of the RQ50K,” said Hartmut Kulessa, European Marketing Manager at Panasonic Business. “More than ever, diverse spaces are wrapped in projections creating memorable experiences for audiences. The outstanding brightness and image quality of the projector allows creatives in this entertainment space to push the boundaries in terms of the level of detail and immersive quality of their content.” Panasonic has extracted even higher performance from the cooling system technology featured on its flagship 30,000 lumens PT-RQ32K to achieve almost double the brightness within the similar compact body. Hermetically sealed optics and filterless design contribute to its 20,000 hours of maintenance-free projection, even within severe environments. Reliability is further enhanced with a new ‘dualised’ concept within the projector. In addition to dual laser drives and backup video inputs, the RQ50K also features dual power supplies to ensure total reliability. The PT-RQ50K is set for release in December 2019. business.panasonic.co.uk
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Peavey | Impulse CA’s Impulse Series of rugged, weather-resistant loudspeakers features in demanding installations all over the world. The two most powerful models in the range, the 12-inch Impulse 1012 and the 15-inch Impulse 1015 have been given a complete makeover, right down to component level, to the extent that they are essentially brand new products. Impulse 1012 and Impulse 1015 are IP44-rated, compact, high performance two-way loudspeaker systems designed for demanding environments requiring high quality sound reinforcement. They feature 12-inch and 15-inch weatherproof Black Widow woofers respectively and a two-inch RX22 titanium diaphragm compression driver with a neodymium magnet which increases overall performance. This outstanding driver is coupled to a 110° x 80° QuadraticThroat Waveguide to provide extremely high power handling capability, low distortion, and a smooth, clear response. The all-new trapezoidal enclosure made of light; durable injection-moulded plastic has been completely redesigned
P
for a thoroughly modern, streamlined look. Available in black or white finish, it provides an integrated stand mount point, three handles for ease of portability, and two extra angled sections on either side to allow use as a floor monitor. Two mounting point locations are available, one on top and one on the side for the Peavey VM 70 mounting bracket, enabling the enclosures to be either flown or wall-mounted horizontally or vertically. A full-length black powder-coated perforated steel grille with cloth backing provides system protection and a professional appearance. The system is weather-resistant for additional flexibility in sheltered outdoor use. Offering performance that defies their compact dimensions, these highly versatile enclosures are capable of clean, clear output at SPLs in excess of 129dB at one-metre from the loudspeaker, making them an excellent choice for applications requiring powerful, high quality sound reinforcement in a compact, elegant, yet ruggedised format. www.peaveycommercialaudio.com 097
1 2 JUNE, OR L A ND O
SPONSORED BY
ENTER NOW mondodrawards.com/americas/enter-now/
New categories for 2019‌ Best Stadium and Best Arena
SPONSORSHIP j.dixon@mondiale.co.uk / l.iles@mondiale.co.uk
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RIEDEL | BOLERO s an all-new wireless intercom system capable of supporting 10 beltpacks per antenna and up to 100 antennas in a single deployment, Bolero is a true game-changer. Bolero redefines the wireless intercom category with features such as ADR (Advanced DECT Receiver) with multiple-diversity and RF anti-reflection technology for greater RF robustness, complete integration with Riedel’s Artist, ‘Touch&Go’ beltpack registration, and versatile operation as a wireless beltpack, a wireless keypanel, and - in an industry first - a walkie-talkie. When used with Artist, Bolero runs over a standards-based AES67 IP network with decentralised antennas connected to AES67 switches and to Artist frames equipped with AES67 client cards, providing a fully integrated point-topoint roaming intercom ecosystem. The more decentralised antennas added, the more robust the network becomes. Bolero’s Standalone Application is license-based and comes with several plug-and-play features. First, antennas can be used individually, in a ring structure, or daisy-chained as the situation demands. Also, up to 100 antennas and 100 beltpacks can be integrated into a single system. These antennas can be placed up to 300-metres apart and up to five can be powered via the CAT5 network using a new external PSU. The system is quickly and easily configured over the IP connection using a web browser. Finally, a throw-down box can be used to interface the standalone Bolero with other intercom systems via 4-wire. The Bolero high-clarity voice codec provides both higher
A
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speech intelligibility and more efficient use of RF spectrum supporting twice the number of beltpacks per antenna for the same audio bandwidth as other DECT-based systems. The Riedel-exclusive ADR technology, combines a unique receiver design with multiple diversity elements specifically designed to reduce sensitivity to multipath RF reflections, making Bolero useable in challenging RF environments where other systems have great difficulty. The beltpack itself features six buttons for six intercom channels or point to point communications, plus a separate ‘Reply’ button that easily facilitates a reply to the last person that called. Bolero’s sunlight readable and dimmable display can be inverted so that it is readable in any orientation. Also, in an industry first, the beltpack can be used without a headset like a walkie-talkie radio utilising an integrated mic and speaker. Bolero beltpacks support Bluetooth 4.1, allowing either a Bluetooth headset or a Smartphone to be connected. When a Smartphone is connected, the beltpack can act like a car’s ‘hands-free’ setup so the user can receive calls on their phone and talk and listen via their beltpack headset. Users can also inject phone calls directly into the intercom channels, providing new levels of workflow flexibility. Based on Riedel’s extensive rental experience, the beltpack uses a combination of premium materials, including highimpact plastics and rubber overmolds making it both tough and comfortable to use in any situation. www.riedel.net
Bolero is all-new wireless intercom system capable of supporting 10 beltpacks per antenna and up to 100 antennas in a single deployment.
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NEXO | GEO M12 haring the same aesthetic design and sonic signatures as the other models in the GEO M Series, the new GEO M12 promises to deliver all the NEXO hallmarks of power, flexibility, coverage and superb sonic performance in a thoroughly modern package. Launched together with the MSUB18 companion subbass cabinet, the GEO M12 is aimed primarily at the mid-size rental company, although its competitive pricing will make it a popular investment for all types of users. The GEO M12 takes its place at the upper end of NEXO’s current line-up of line array designs, the new head of a family that includes the GEO M10 and GEO M6 mid-size and compact systems. The M12 line array module, which contains a premium one-inch Neodymium LF driver paired with 1.4-inch titanium diaphragm HF driver, is offered with two vertical dispersions, the 10 GEO M1210 and the 20 GEO M1220. Horizontal directivity is 80 by default for both modules, but, by adding an optional Configurable Directivity Device (the NEXOpatented CDD), it can be changed in seconds to 120, using a magnetic fixing system. The M12 modules are 370mm x 700mm x 446mm, and weigh 34kg. The two-way module will deliver a frequency response of 50Hz-20kHz with peak SPL of 140dB. The enclosures use the same honeycomb structure and urethane co-polymer material first used in NEXO’s STM Series cabinets, and carry a full complement of patented technology, including the Hyperbolic Reflective Wavesource (HRW) and Phase Directivity Device (PDD), as well as a new and improved version of the patented V-shaped profile of the bass port. GEO M12 allows maximum flexibility in use. A protected switch on the rear of the M12 module allows the user to change the box, on the fly, from two-way passive to twoway active mode, without having to open the box. NXAMP can also be configured on the fly to match M12 in active or
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passive mode. This consideration for the working engineer has a NEXO hallmark, enabling modules to be adjusted without tools to gain improved horizontal coverage. Rigging hardware is integrated, with no loose parts. The AutoRig system automatically connects the front rigging system when speakers are assembled, with a guided back rigging system for easy angle adjustment. Perfect coverage is achieveable with a choice of 11 angles between cabinets, in arrays of up to 12 boxes, indoors or outdoors. A new hardware accessory, the Mini-Stack, allows three M12 cabinets to be placed on top of an MSUB18 to make a powerful groundstack. Another new accessory enables GEO M10 modules to be stacked on top of the MSUB18. Although the GEO M12 is partnered by the dedicated sub bass cabinet, the MSUB18, it shares the same phase response as other NEXO speakers, so it can be teamed with any NEXO sub without requiring complex adjustment. As is standard with any NEXO product, amplification is via NEXO’s NXAMP4x4 TDcontroller, running with up to three M12 cabinets per channel. The system can be controlled over a network using a Dante, Ethersound or AES/EBU digital expansion card. There are dedicated touring and installation versions of the GEO M12. The Touring version uses a magnetically-fixed front steel grill with a back mesh. AutoRig automatically connects the front rigging system when the speakers are assembled, with a guided back rigging system for easy angle adjustment. The connection plate uses NL4 connectors. The IP54-rated Installation version comes with a fixed front steel grid, covered by an acoustic cloth.The rigging system uses safety nuts and the connectivity is made through cable gland and captive four core cables. All hardware is TUV-certified. Both Touring and Installation versions are available in black, white and custom RAL colours on request. www.nexo-sa.com
The latest addiiton to the GEO M Series from NEXO - the GEO M12.
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MONDO | STADIA presents AGORA he inaugural AGORA presented by MONDO | STADIA took place at ISE 2019 in Amsterdam on 7 February, with the event providing a focus on sporting venue technology, the latest developments across the industry and future projects. Over 120 registered delegates, coming from Europe, America, China, Australia, Singapore, India and more, saw expert speakers from the industry explore the benefits of the latest technology, trends and techniques - analysing the impact it has and will continue to have at modern stadiums and sporting venues around the globe. Through an informative panel discussion, stadium case studies and keynote speakers, AGORA touched on the fan experience, modernisation stadium infrastructure, the importance of audio in stadiums and sporting venues and how the visual element creates an immersive experience, among other topics. The opening session saw Dan Goldstein, Senior VP of
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Content & Communications at AVIXA, deliver the first keynote of the day, in which he shared some of the research AVIXA has carried out to shed further light on the opportunities presented by exceptional fan experiences to creative audiovisual professionals - with a focus on how technology can help deliver an immersive, electrifying experience to compete with the rise of the at-home experience. Next up on the AGORA stage was President of Danley Sound Labs, Mike Hedden, who presented the audience with his talk: Low, Little, Loud and Lucid - Raising the Audio Performance Bar in Stadiums and Sporting Venues. With a huge amount of experience in providing audio for some of the largest sporting venues - including the incredible Mercedes-Benz Stadium in Atlanta - Mike explored the challenges for audio systems, the new demands that have arisen and what the future holds for the audio sector in sporting venues.
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The first case study of the event focussed on the iconic Stade de France. Jonas Djian, Venue Manager at the 80,000-seat stadium, provided fantastic insight into how the largest stadium in France is run, with a focus on the continued development of its technology and connectivity. Jonas also offered a closer look at the services provided to fans through apps and the positive impact it’s having for fans visiting Stade de France. Following a short break, the event resumed with an informative panel discussion on how technology enhances the fan experience, which was certainly popular with attendees. Chaired by Red Lorry Yellow Lorry’s, Martin Izzard, the panel centred around the integration of technology and how that impacts a fan inside a stadium or sporting venue. The panel, including Tripleplay’s James Keen, Lukas Buhl from TW AUDiO, Stephen Hogg from d&b audiotechnik and Signify’s Thierry Chapiteau. They offered some valuable insight into what can be done for fans using audio, visual and lighting technology. Juan Iraola, Head of Digital at Real Sociedad, was up next with a fascinating case study on the digital transformation project at Anoeta Stadium in San Sebastián. There have been 34 projects at the venue since 2016 and, following on from
that, Juan went into further detail on the club’s exciting agreement with Microsoft Sports and the Global Innovation Center. The start-up programme will see 11 technology pilots implemented and, as Juan explained, these will improve the facilities, enhance innovation and transform the fan experience at Anoeta Stadium. The closing keynote of the day came from Auditoria’s Director, Scott Willsallen, who offered an informative look at the vital importance of sound in engaging the stadium audience and enhancing sporting drama. Using examples from Auditoria’s impressive body of work in stadiums, Scott discussed the ideal audio workflow, including improving the audio quality of video packages, before presenting some interesting thoughts on what the future holds for the live stadium audience in terms of applications for immersive 3D audio. An AGORA networking lunch was held at the end of the conference, giving sporting venue operators, designers and event organisers an opportunity to meet and discuss ideas with technology innovators and industry experts. For more information on AGORA 2020, visit www.mondostadia-agora.com 105
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ISE 2019 ntegrated Systems Europe (ISE) 2019 - the 16th edition of the show - which was once again held at RAI Amsterdam has been confirmed as biggest, broadest-reaching show yet. The largest ever ISE show floor - 56,100 net sq metres - included 1,301 exhibitors. Of these, 225 (17%) were companies taking space at ISE for the first time and, at the close of ISE 2019, 92% of the available floor space at ISE 2020 had already been sold. The overall number of registered visitors to ISE 2019 was 81,268 - marking another record figure for the show, 32% of these were attending ISE for the first time. Wednesday saw the largest ever one-day attendance figure for any show at the Amsterdam RAI and the number of attendees on
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Friday passed 20,000 for the first time. ISE 2019 included 15 halls with the latest technologies and solutions for pro audio visual and systems integration. Not only that, but the show also delivered its widest-ranging professional development programme to date, extending its coverage of major vertical market sectors. Mike Blackman, Managing Director of Integrated Systems Events, commented: “As an exhibition, as an unbeatable source of education and professional development, and as a destination for a global industry to come together and do business - ISE 2019 has delivered. Our Opening Address, Closing Keynote, and our two projection mapping features were fantastic showcases for how event professionals and others can harness audio visual technology to better realise 107
their creativity.” Presented under the slogan ‘Learn. Discover. Be Inspired’, ISE 2019’s professional development programme featured strong involvement from the show’s co-owners AVIXA and CEDIA, as well as conferences organised by vertical market specialists. New additions for 2019 included AGORA, for the sports venue market, produced by MONDO | STADIA. AVIXA hosted two of its ‘What’s Next’ conferences, both of which had sold out before the show opened. The association also ran a series of free 20-minute FlashTrack education sessions on its stand. CEDIA, which used ISE 2019 to begin its 30th anniversary celebration events, had a four-day professional development programme with over 36 different courses, covering pertinent subjects under the headings of Technical Skills, 108
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Emerging Trends, and Business Success. Additionally, its stand hosted free CEDIA Talks on topical industry issues each day of the show. ISE’s beating heart is its show floor, and 2019 exhibitors once again made the most of the opportunity to launch new products and showcase their latest solutions. Among the technology trends in evidence were 8K displays; smart building technology, including the Internet of Things; AIequipped devices; 3D projection mapping; a wider-than-ever choice of curved, flexible, transparent and ever-smaller-pitch LED displays; and further developments in AV over IP and audio networking. ISE 2020 will be held at the RAI Amsterdam from 11-14 February 2020. www.iseurope.org
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PANASONIC CUSTOMER EXPERIENCE CENTRE Bracknell, UK
Images: Panasonic anasonic has officially opened its Customer Experience Centre, situated at the new UK headquarters on Western Road, Bracknell. The aim of the experience centre is to show customers how Panasonic can benefit their individual business situations, while providing a custom experience for each visitor structured around two areas. First, an immersive 270º interactive presentation space. Featuring audiovisual design and integration by Sysco Productions, concept development by AB Creative, and content and physical build by Hart Wilcox, the space is built around eight separate virtual vertical environments. The second is a demonstration area that allows customers to get hands-on with the latest Panasonic technology. Upon arrival, visitors are greeted by a six-screen ribbon wall displaying relevant case studies and example applications of Panasonic technologies. Powered by two disguise 4x4pro media servers, the customer’s name is integrated into the content in real time. Guests then enter ‘Panotown’ the 270° presentation space. It is fitted with nine laser projectors that
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fill three walls to create the immersive environment. PTRZ970 and PT-RZ770 SOLID SHINE laser projectors form the basis of the projection, with micro-mapping being done by a PT-RZ570. The customer is equipped with a TOUGHBOOK G1 tablet that allows them to select which point of interest suits them the most, ranging from live events to retail to logistics. Each environment brings up relevant case studies that play a brief video, which can then be downloaded to the visitors TOUGHBOOK T1 handheld device. These case studies can also be downloaded via a near-field communication (NFC) bar that lights up, inviting the visitor to tap their device, sending them an email for further reflection after their visit. The interaction of the NFC bar, a technology Panasonic has tested at Panasonic Stadium in Suita, Osaka with NFC wristbands for football matches, adds to the immersion and engagement of the visitor. Next, visitors arrive in the demonstration space, which is split into five areas - retail technology, rugged computing, audiovisual solutions, communications solutions and next111
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generation surveillance technology. Each area can provide crossover like next-generation surveillance technology being combined with retail technology. One of the goals here is to show all of the areas that Panasonic works in and how these solutions offer technology that works invisibly together to free businesses for success. The demonstration space allows visitors to interact and get to grips with the various technologies. The rugged computing section showcases the variety of TOUGHBOOK products, which are used everywhere from retail and food service employees to referees at Wimbledon. These products can then show their durability through the drop, water and ball drop test, showcasing the device’s waterproof qualities and its ability to withstand impacts. The next generation surveillance technology shows off Panasonic’s FacePRO facial recognition technology, which through a demo, shows how faces can be detected even if obstructed with hats or sunglasses. The facial recognition platform, which features a ‘deep learning’ core engine, has ranked as the industry’s most accurate in independent testing by NIST. Panasonic’s 360° cameras also show an entire view of the room in one single image. This can also be broken down into quadrants to view evidential scenes in more detail without distorting the image footage and retaining picture quality around the edges of the image. The security technology can be utilised within a retail environment with smart analytics technology such as people counting, age and gender recognition and heat mapping, 112
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provide invaluable insight into customer behaviour. This would allow a retailer to gain intelligence on customer demographics, volumes and flow throughout their store. The retail area combines Panasonic hardware with third-party software to demonstrate time and cost saving solutions for physical retailers. Within this area is a LinkRay capable Panasonic display. LinkRay uses LED light to link mobile devices to content in spotlights, flat panel displays and projectors. Customers can then access the exact information they want, just by pointing their mobile device towards the information source. Using this technology provides many opportunities to provide an extra dimension to customer experience. People can explore a store in exciting new ways by having displays that are even more memorable and impactful. The Experience Centre shows that as technology becomes more interactive its the way business adopt them that will impact how they connect to their consumer base. This also applies to Panasonic, immersion and interaction is an important way to show how this technology can be used and bridging the gap between the products they offer and the visitors understanding of them. www.panasonic.com/global
EVENT DIARY 2019
SPORTELAsia 5th - 7th March, Macau, China www.sportelasia.com
Coliseum Summit US 9th - 10th May, Detroit, USA www.coliseum-online.com
PLASA 15th - 17th September, London, England www.plasashow.com
Coliseum Summit EUROPE 20th - 21st March, London, UK www.coliseum-online.com
World Stadium Congress 20th - 22nd May, Amsterdam, Netherlands www.worldstadiumcongress.iqpc.ae
Coliseum Summit MENA September, Yas Island, UAE www.coliseum-online.com
IAKS UK Spring Event 2nd April, London, UK www.iaks.org
The Stadium Business Summit 4th - 5th June, Manchester, UK www.stadiumbusinesssummit.com
World Football Summit 24th - 25th September, Madrid, Spain www.worldfootballsummit.com
Prolight+Sound 2nd - 5th April, Frankfurt, Germany www.pls.messefrankfurt.com
Major Events Summit 26th - 27th June, Birmingham, England www.majoreventsinternational.com
SPORTELMonaco 21st - 23rd October, Dublin, Ireland www.sportelmonaco.com
Soccerex China 17th - 18th April, Zhuhai, China www.soccerex.com
ALSD Conference & Tradeshow 30th June - 3rd July, Chicago, USA www.alsd.com
ALSD International 28th - 29th October, Dublin, Ireland www.alsdinternational.com
World Football Summit Asia 29th - 30th April, Kuala Lumpur, Malaysia asia.worldfootballsummit.com
Sports Decision Makers Summit 9th - 10th July, London, UK www.sportsdecisionmakers.com
FSB 5th - 8th November, Cologne, Germany www.alsdinternational.com
Sports Decision Makers Summit 6th - 7th May, Miami, USA www.sportsdecisionmakers.com
IBC 12th - 17th September, Amsterdam, Netherlands www.ibc.org
The Stadium Business Design & Development Summit 25th - 27th November, London, England www.stadiumdesignsummit.com
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Who? Lukas Buhl, M.Sc. Job title? R&D and Product Manager, TW AUDiO GmbH Favourite stadium or sporting venue? Lanxess Arena, Cologne, Germany Why? It is indeed a multifunctional arena and the sound system is just as flexible. Life motto? Life is too big for a short motto.
BLV STATURION®
Sports lighting solutions
Perfect illumination of sports facilities As a lighting specialist and one of the leading suppliers of sports facility lighting, BLV provides optimum lighting conditions. With 50 years of experience in the lighting sector, we know the different areas of application and the diverse requirements in the sports sector! In addition to our globally established STATURION® metal halide lamps Made in Germany, we offer a broad portfolio of LED floodlights. We advise our customers intensively on the advantages of both conventional lighting solutions and LED lighting systems: individually, project-related and objective, because as one of the few market players we offer everything from a single source. Contact us, we are happy to answer all your questions: BLV Licht- und Vakuumtechnik GmbH • phone: +49 8094 906-400 • email: sales @blv-licht.de
1968 I 2018
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