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The event’s communications system was carried by a structured network built by CTME, supported on the back of five Luminex GigaCore 26i switches and 10 14R units, which housed every component of data delivery, from the main two Riedel Artist Frames to 10 wired comms and 32 Bolero Wireless units. A total of 60 Motorola radios with four SLR5500 Repeaters were integrated from the start of the project, used before, during and after the build for backup and emergency communications.

CT ME incorporated all external companies’ networks to ensure seamless delivery. “We had six DSP-2312 comms panels at BOH for lighting, drones, pyro and our video team responsible for everything relating to screen content and LED, and three RSP-1232 panels for the technical director, comms control and show caller, who were situated on top of the roof,” stated CTME Head of Integrated Networks, Darius Charlery.

“W ith the reach of our network system at the most important locations onsite, we ensured external companies’ broadcast units were also linked into our system to enable full show control by the show caller,” he added. “We also provided the show four-wire party line for communications between systems and other companies.”

Charlery reported that the RTS units used by CTME’s camera team “worked superbly as part of the massive multi-unit interface”. He furthered: “We covered positions easily through the seven

Riedel Antennas posted around sites like FOH, MCR, Level Eight, and BOH for audio, video, pyro, and stage managers stationed there. On a gig like this, there are always surprises, but with the stakes so high, there was no room for error. Thankfully, the system was effective and produced satisfying results to a grand show.”

Andy Reardon, Managing Director of CTME, added his thoughts on the landmark deployment for the company. “Our teams pushed the boundaries and delivered a spectacular show,” he commented. “We had over 40 engineers and 50 crew working on the delivery and execution using the latest technology and supplying a world-class service. A huge thank you to AIM for engaging us on this ground-breaking event.”

‘The biggest pinch-me moment I’ve ever had’ With the event taking place in the middle of Ramadan, the presence of a live performer was never a consideration for AIM. Instead, the creative production company came up with a spectacle combining the ground-breaking trio of fireworks from Flash Art, a drone show from Dronisos, and pyro gliders from AeroSPARX, all into one cohesive production.

“When you do something outside the box and it’s integrated, it brings the suppliers together and creates a bond between everybody,” said AIM’s Grassick. “We’ve all been in boring production meetings where each department is taking turns to talk about their own discipline, but with this show, everyone was committed to how we could combine to create a full picture. It suddenly becomes a lot more fun and the banter among the team takes on a life of its own.”

Af ter working on several previous projects with Grassick, Flash Art’s Creative Director and Senior PM Piotr Szablowski was pleased to get the call to provide the main pyro element. “We have a great working relationship with Natalie, and we were with her from the initial pitching stage of the project,” he reported. “AIM’s concept was always evolving, so our job for some time was to advise on feasibility and the maximisation of the visual potential within our boundaries.”

Szablowski recalled the “long sequence of bouncing ideas back and forth under the guidance of AIM’s creative team” that formed the early design process. “The main goal for the pyro element was to provide an intense finale, but also to emphasise certain sections within the storyline, hopefully without overpowering the other media too much,” he revealed.

With so many stakeholders at play, this was always going to be a challenge – albeit one he relished. “So many people needed their input to be considered, needs met, safety regarded, ideas realised, space given, and time granted, that it becomes a glass object juggled between a large team,” he said of the project. “Thankfully everyone involved are seasoned veterans of their respective professions, so this group of people were certainly the right ones to do it with.”

Looking back on the show, Szablowski was delighted with the reception it received. “From direct congrats to subsequent requests for a similar experience – the production went down brilliantly,” he reflected. “We often get caught up in the details and the day-to-day of our work and sometimes forget how much of an emotional ride it gives the audience. This was a special project to be involved in.”

Kris Vloemans of Dronisos was also proud of the achievement. “To fly about 2,000 drones – with the development, software and choreography all done in-house – is a major achievement that only a few companies around the world are capable of,” he reflected.

“There are various systems used by the different large-capacity drone show companies, but the Dronisos system relies a lot on Wi-Fi to be allowed to fly by the aviation authorities in any country. In a venue of this magnitude with this amount of visitors, Wi-Fi was probably our biggest challenge to overcome.”

Ae roSPARX’s Guy Westgate viewed the project in similarly glowing terms. “A lot of large production companies are conservative and don’t want to do anything unless it has already been done before, but Piotr from Flash Art and

Kris from Dronisos were remarkable for being prepared to work with us to go way beyond their normal comfort zone,” he said. “I don’t think any of us would have considered a combined display had it not been for AIM pushing us to do something extraordinary. They had the vision of combining everything and it’s down to that vision that this project came to fruition.”

Westgate, who was one half of the AeroSPARX display pilot team for the event alongside Robert Barsby, described how the company navigated a minefield of potential safety concerns to help fulfil the creative vision. “We did a lot of work to understand all the potential hazards and identify all the areas where we could and could not fly,” he recalled.

“Anything that goes ‘bang’, could potentially explode at the wrong time, and even though the drones were computer controlled and fixed in space to centimetre accuracy, we have to operate under the assumption that something unexpected could happen with them and make sure that even if it does, it’s not catastrophic.”

While the rest of the show was synced using timecode, the addition of the human element brought a sense of jeopardy that wasn’t lost on the audience. “Unfortunately, Rob and I don’t work on timecode,” Westgate laughed. “We’re pretty good and I can almost guarantee that we’ll be in the right place at the right time and roughly at the desired point in a manoeuvre, but we’re only human and there are a lot of variables to consider such as wind speed and air currents that can have an effect on our performance.”

The Pilot described “some very clever things” that were done by the drone team to help ensure that the two disciplines could operate safely alongside each other. “We had a practice run where all the drones were illuminated blue. We spent the whole 10-minute display orbiting above the drone formations, which allowed us to see in real terms where all the drones were going to be, including those that would be dark in the real display,” he recalled. “It gave us confidence and allowed us to pull in as tight as we dared around the mesmerising murmuration of drones.”

Westgate reserved special praise for Unified International’s Mark Trotter who “did everything apart from fly the planes”. He commented: “We leant on Mark extensively. We’ve worked with him for many years and he understands aeroplanes and was a very important part of the production.”

Unified International typically has a two-step role on a project, which starts with gaining all the necessary aviation permits and permissions from the relevant regulatory body, before moving on to a consultative phase. “Once the permissions are achieved, it’s all about working with the client and stakeholders to make the project a reality,” Trotter explained. “Part of that is about managing expectations. Each discipline has its own priorities, so it’s about finding the middle ground and finding solutions that work for everyone.”

The company has become something of an authority in this niche, working on several Dubai World Cup projects, along with Expo 2020 and various others over the past few years. “It’s all about knowing the process, and when we are brought in early as was the case here, we can help to achieve something very special,” he said, noting that this was the first time they had combined drones, fireworks, and aeroplanes in one coordinated performance. “It became a dynamic relationship management role. Each experience teaches you something new, and we certainly learned a few things on this one.”

The final formation saw the drones form a giant trophy shape, which the gliders circled while firing out pyro from their wings, creating a vortex effect. “That was probably the most dangerous part of the show,” said Trotter. “The planes couldn’t go too far back because fireworks were there, and they couldn’t go too far forward because they would be over the crowd. They were operating on a very strict boundary.”

Along with the trophy scene, Westgate was also particularly pleased with the final flypast, which saw the gliders swoop down over the home straight while being chased by a line of pyro shots. “The whole display was on timecode apart from that final pyro chaser,” he recalled. “AIM had the genius idea of making a hand-cued element, which meant that the final effect on the big screens and fireworks could be aligned precisely with our flypast. Every so often in my line of work, I get a moment where I think, ‘am I really doing this?’ This display was probably the biggest ‘pinch me’ moment I’ve ever had.”

Trotter was also impressed with AIM. “They did a great job,” he commented. “This is my third year working on the Dubai World Cup and it’s certainly the year that I’ve enjoyed the most. Hats off to them for an incredible achievement.”

EFM Global also played its part in the project, ensuring that the gliders made the 4,000-mile trip from Europe and landed on site to schedule. “The gliders were a pivotal element in the spectacular and it’s very gratifying to be associated with their safe delivery,” commented EFM Global Group COO, Gary Morter. “They have since made the return journey, again under EFM’s care.”

‘A complex, world-first delivery’

AIM approached Byrne Equipment Rental to provide essential site infrastructure. The company supplied full show power with secondary distro with a capacity of 2.65MW; BOH cabins and toilets, including one cabin that was cleverly camouflaged with AstroTurf; as well as lighting towers, plant equipment and powered access solutions.

Byrne’s delivery didn’t stop at the equipment, with standby technicians on-site around the clock in the days leading up to the event ensuring that any potential technical issues were addressed swiftly. The company also handled various additional services including fuel, water, waste management, and cleaning.

“The execution of the event was highly satisfactory in a variety of ways,” stated Byrne’s Katy Grice. “Each aspect of the products supplied from our side performed flawlessly throughout the entire show, ensuring an uninterrupted performance. Moreover, the collaboration with the highly professional AIM team and their dedication brought significant value to the event.”

Also joining the supplier roster was Wicked, which provided its high-quality event structures. “We would like to thank AIM for the opportunity to work together,” stated James Kearney –Senior Commercial Manager (Major Projects). “From the beginning, we were impressed with their professionalism and clear communication. They provided us with a detailed brief and a precise timeline, which allowed us to deliver the