TPiMEA #045 December/January 2023/4 by Mondiale Media

100 years of the Turkish Republic Shelley Frost

World Combat Games

Defected Dubai

Ben&Ben

The Fridge’s Founder and Director gives an exclusive, in-depth interview

The world’s top martial artists witness an Opening Ceremony that celebrates the culture of KSA

Defected Records takes over Dubai’s Soul Beach for a nonstop, three-day rave

The hugely popular Filipino indie-folk act headline Coca-Cola Arena for the first time

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INTRODUCTION

Welcome to TPiMEA

Peter Iantorno Editorial Director

If there’s one thing I’ve learned since I started reporting on the Middle East’s live events industry, it’s that the importance of flexibility cannot be overstated. Just as the region’s production companies, rental houses and freelancers must be flexible to accommodate the ohso-common last-minute projects that have become a prerequisite of operating in the region, so too must we be flexible in planning our coverage, with short-notice event postponements and even cancellations all part and parcel of the Middle East’s dynamic industry. This flexibility was tested recently, when just days before I was due to fly to Dubai to cover KISS at Coca-Cola Arena, the show was cancelled. They say when one door closes, another door opens, and sure enough, after a few frantic messages to get some more information, I was presented with the opportunity of going to the same venue 24 hours later than planned to see Filipino indie-folk act, Ben&Ben, in a show that was set to use much of the equipment that had been originally earmarked for KISS. It was at the Ben&Ben show that I met Director and Founder of The Fridge, Shelley Frost – a woman I had heard a lot about, but until that point had not had the pleasure of meeting in person. So, while this issue doesn’t have what would undoubtedly have been a pyro-packed production from KISS, we do have coverage of The Fridge’s first ever arena show (page 52), and an in-depth interview with an industry legend (page 8). One thing in this issue that was planned well advance is its cover story – Istanbul’s celebrations for 100 years of the Turkish Republic. Invited by Imagina Productions, I travelled to Turkey for the first time at the end of October to witness the event, and with a raucous crowd of 650,000 in attendance, it’s fair to say that this was a show on an epic scale. Read our full production profile on page 28. Elsewhere, we profile the Opening Ceremony of the World Combat Games in Riyadh (page 42), we check-in with the team at 7Hertz (page 68), we hear from Protec’s General Manager, Matt Allen (page 72), and much more. Enjoy the issue.

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Cover Story

28 42 52 www.tpimeamagazine.com

First Look 08 Shelley Frost

The Director and Founder of The Fridge sits down with TPiMEA for an exclusive and in-depth interview, where she looks back on the history of the company and shares her views about the state of the industry.

Event Focus 20 Defected Dubai

Protec provides a turnkey solution for a three-day party at Dubai's Soul Beach.

24 d&b Middle East Showcase d&b audiotechnik and Dubai Opera celebrate their Official Technology Partnership and show off the venue's brand-new Soundscape system.

Production Profile 28 100 years of the Turkish Republic

TPiMEA heads to Istanbul to witness a show on an epic scale for the centenary of the Turkish Republic.

42 World Combat Games

Riyadh welcome's the world's top martial artists with a striking opening ceremony.

52 Ben&Ben

The Filipino stars headline Coca-Cola Arena on a landmark night for the artist, promoter, and venue.

In Profile 58 HIVE

The innovative media server control solution that takes its inspiration from nature.

Editorial Director Peter Iantorno Tel: +44 (0)161 476 8360 Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk Contributing Editor Stew Hume Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk Contributing Assistant Editor Jacob Waite Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk

Account Manager Matilda Matthews Mobile: +44 (0)7413 555978 e-mail: m.matthews@mondiale.co.uk Account Manager Philip Tucker Mobile: +44 (0)7522 130473 e-mail: p.tucker@mondiale.co.uk Account Manager Sheelan Shah Mobile: +44 (0)7401 690960 e-mail: s.shah@mondiale.co.uk Digital Content Manager James Robertson Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk

68 7Hertz

Chief Executive Justin Gawne Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk

Interview 72 Protec

General Manager Matt Allen tells TPiMEA what's new at Protec.

Feedback 76 FLOW at DPWTC

How FLOW is supporting the golf event's drive for greater sustainability.

78 AED in the UAE

The dry hire specialist opens a new office and warehouse in Dubai.

Gear Heads 80 Cameo PIXBAR G2

The product changing how LED bars are connected.

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Commercial Director Fran Begaj Mobile: +44 (0)7852 336728 e-mail: f.begaj@mondiale.co.uk

Marketing and Event Manager Alice Clarke Mobile: +44 (0)7752 392465 e-mail: a.clarke@mondiale.co.uk

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Editorial Assistant Alicia Pollitt Mobile: +44 (0)7508 441986 e-mail: a.pollitt@mondiale.co.uk

64 KVANT Events Middle East Peter Prokopčák discusses the company’s new Dubai office and shares his ambitions for the future.

THE

Mondiale Group Chairman Damian Walsh Graphic Design & Production Dan Seaton: d.seaton@mondiale.co.uk Mel Capper: m.capper@mondiale.co.uk Accounts Lynette Levi / Sarah Miller: ar@mondiale.co.uk Cover Photography 100 years of the Turkish Republic by Imagina Productions

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84 Regional Round-up

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The latest news from the Middle East and Africa.

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FIRST LOOK

Shelley Frost Director and Founder, The Fridge Fresh from putting on The Fridge’s first ever arena show, industry icon Shelley Frost sits down with TPiMEA for an exclusive interview that charts the history of the company that has become a mainstay of the region’s live music industry.

When Shelley Frost packed up her life in South Africa and moved to Dubai back in 1997, nobody could have predicted what the future would hold for her. A harpist by trade, the musician spent 10 years living and working in the UAE, immersed in the industry, all the while slowly realising that there was a gaping hole in the market that was practically begging to be filled. Now some 26 years since making the life-changing move, it’s fair to say that Frost is a true titan of the region’s live events scene. Despite being the busy head of a thriving company, Frost has always found time to champion the underdog, placing a huge emphasis on developing the grassroots music scene in the region. What was abundantly clear from our meeting over some delicious non-alcoholic cocktails from TVM@TheFridge located in the industrial, yet uber-stylish warehouse space was that for Frost, this is about so much more than your average job. “That live aspect is something I love,” she mused. “There are so many different aspects to this job – from pitching, artist relations, rehearsing, client relations, and delivery, and they all take different skills. There’s never a dull moment.” Here, the Director and Founder of The Fridge gives an indepth insight into the ethos behind the company that over the past 16 years has become a Dubai institution, looks back on some of her favourite moments, and offers her thoughts on what could lie ahead for the company. What inspired you to start The Fridge? The thing that catapulted The Fridge is the same thing that still drives it today. It was a throwaway comment that I’ve heard quite a few times but for some reason this one night it just hit differently, and it got a real reaction from me. Somebody said to me that ‘there’s no culture here in Dubai’. We’ve all heard that accusation, and aside from it being untrue, it had been bugging me that people might think that. Middle East

That feeling that Dubai had no culture, I thought, was because there was no platform for culture to be cultivated. There was a lack of tertiary education. Normally, you’d go to a college with an auditorium, a city would rely on its thriving university music department for a sense of culture and at that time we didn’t have Dubai Opera – we didn’t really have anywhere to watch live music apart from hotels that would do shows, but they were almost cruise line-style in their delivery and aimed squarely at expats. I’ve always had a passion for independent music and creativity within music – that was the big driver for me. I never really drew up a business plan, but I realised that over the 10 years living in Dubai, I must have unconsciously been thinking about this, because when it came to setting up, the whole concept was so super clear in my mind. From there, it spread so quickly. What were the early days of The Fridge like? I remember going into our first warehouse in Al Quoz 4 right up against Al Khail Road some 16 years ago. In a massive 5,600 sq ft warehouse space, we had four little IKEA desks in the far corner – and that was it! Very soon after that we launched the Concert Series – a platform for locally based artists to perform original material. When we started, I wondered how long it would take to exhaust the local talent pool. But here we are 15 years later, having just finished our 41st season. The Concert Series is as relevant to the scene today as it was 15 years ago, and that is a testament to the constant conveyor belt of talent that is coming out of the region. Season 42 is coming up in January and we remain doggedly committed. On top of the Concert Series, we have The Fridge Presents, which is a title to enable any visiting band that is on their way through to festivals or performances in Australia or Asia for example, to stop off and have a date

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FIRST LOOK

at The Fridge. We also have bands coming through from Canada, the US, and Europe. How has The Fridge adapted and grown over the years? We’ve been honed by the ups and downs that have affected everyone else in the industry. The financial crash of 2008 was brutal and caused a massive turnaround here. Until that point, the main form of employment for musicians in the UAE was in the hospitality industry, with the relative dearth of large live shows and festivals at the time. Traditionally, hotels in this region would employ bands from Europe or the US, bringing them in on six-day contracts exclusive to a single property or hotel. After the crash, hotels thought that they wouldn’t be able to afford music anymore with the cost of giving visas and accommodation to the artists. We stepped into the void and took that on, and today that still forms a significant part of the business. It’s an interesting ecosystem, because that is what allows many people to be full-time musicians – to have three or four good regular hospitality gigs where they can command decent fees. That allows them to use the rest of the time to do their own thing, which is where the creativity really starts to flourish. The hard times and how you react to them are often the defining moments. As it was for most people, COVID-19 was an absolute disaster for us. We decided to keep the team Middle East

intact, to see people through, and we went millions into debt in the process, but we then came out of the other side much bigger and better than ever before. We won the Expo 2020 contract, we produced more of our own events, we expanded into Saudi Arabia and just last month we promoted and produced our first ever show in Coca-Cola Arena with thousands of fans coming to see acclaimed Filipino band Ben&Ben, so the perseverance through the hard times was worth it. How important was the Expo 2020 contract to The Fridge bouncing back? It was hard to see a path through at the time, but the blessing of fighting through and eventually winning the contract with Expo 2020 was a real shot in the arm. It was only something on that unique scale and magnitude that could have transformed us in the way it did. Six months’ worth of live gigs on a nightly basis on a 20,000-pax stage – it doesn’t get much bigger than that. It happened at a very good time for us. We’ve always been working away solidly in our corner, but Expo 2020 gave us the platform and the visibility to show something massive, which was delivered impeccably by The Fridge team. That brought about a renewed perception of who and what The Fridge is about. Some people know us just for our live concerts at our own venue, while others know us only for our corporate

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FIRST LOOK

work, or because of the work we do with the Arabian Philharmonic Orchestra and the Festival Chorus choir, both of which The Fridge founded. Expo 2020 shined a light on our full offering and our ability to deliver under duress in great difficulty with COVID still lingering strongly in many of the countries we were bringing in international artists from. From a logistical, artistic programming and delivery point of view, we could show our full strength. This has led to us curating the programme for other festivals including Music at the Boardwalk, Daz Festival as well as our continued programming of Mother of the Nation. How do you find a balance between promoting creativity in local artists and achieving commercial success? Commercial success is incredibly important, but it’s never been the principal driver of The Fridge. We are genuinely driven by the change we can bring and the promotion, stepping stone and growth we can deliver for artists. The independent scene is the passion project of The Fridge, and it’s a fine balance. If we don’t keep things on track financially and continue to succeed in that regard with the bigger regional projects, we lose the power to support artists. So, it’s a very delicate balance between commercial and purely passion projects. It’s a constant juggle, which is very much part of the model. There are so many more opportunities now both in the UAE and Saudi Arabia for original, talented musicians and we’ll only see that increasing. We now spend the bulk Middle East

of our time on content curation and programming, rather than corporate gala dinners. With that said, we respect and appreciate corporate work, and that is its own driver. It often forces fusion between artists who then go on to discover new things. It’s a healthy force within the scene. What more could be done to support the grassroots music scene in the region? I’d like to see more coordination and support from the labels and major platforms when it comes to the middle sector, in between casual artists and those who have been signed. In between those two levels is a massive space full of talent that is relatively untapped and unsupported, with hardly any platform to shine. The artists in that middle strata need a platform to help them get used to performing in front of audiences, handling mics, repartee, and how to build a set… It’s all that which is of our pivotal interest. There’s a huge amount more that could be done, and it makes sense to do everything we can as an industry because it all feeds up the food chain. If we support these mid-level artists then whatever floats to the surface will benefit the big labels, creating a much richer grassroots scene here in the process. That’s not to say that the scene we have now isn’t rich and alive – it is – but I believe that there’s so much more potential, and hopefully we’ll continue to play a big part in that narrative for a long time to come. I understand that it’s a commercial enterprise and especially for the bigger companies everything must be

“We’re continually updating and upgrading the technical setup at the venue, and I’m on a mission to have our space become the UAE’s best-sounding boutique music environment.”

underpinned by the numbers. But that’s why I love being an independent – because we’re able to do some of the crazy stuff that might not necessarily make the most financial sense. We’re astute enough to have kept things going for as long as we have, so we’re not naive to it, but we can be much more flexible. I’m proud that we’ve been able to hold that space for so long. A lot of time, energy and financial support goes into it. It’s not just knowing the bands – it’s knowing the people who are in the bands, their personalities, what makes them tick, how they write music, who needs a push to keep going? It’s being able to play that role that we find infinitely worthwhile. That’s what gets us up in the morning. Tell us about The Fridge’s performance space in Al Quoz… Based in Dubai’s thriving arts hub in Alserkal Avenue, The Fridge Warehouse offers an urban, versatile space accommodating anything from workshops to product launches, corporate events to concerts. We’re continually updating and upgrading the technical setup at the venue, and I’m on a mission to have our space become the UAE’s best-sounding boutique music environment. In the Warehouse, we have all kinds of music genres from jazz to Arabic fusion crossover, to hard rock, heavy

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FIRST LOOK

metal, punk – you name it. What I love most of all is the melting pot of audiences and cultures that are attracted to our venue. The exciting thing now in the UAE is that we have a new generation of people who have been to school here and grown up together and they are still here. So, that creativity, talent, and bond give such a lovely mixture in the room of citizens of the world – the modern Emiratis. We also recently realised a little dream of mine and added a bar called TVM@TheFridge (The Virgin Mary) to our space. TVM Collective started in 2019 in Dublin, and it’s a non-alcoholic concept embracing an innovative new way of socialising. The cocktails are magnificent, multi-layered and offer something for every palette. They’re cocktails of significance rather than the super-sweet juices that nonalcohol drinkers are often left with. We just opened and the early feedback is fantastic – people have told us that they finally feel ‘seen’ and they appreciate the effort that has gone into creating these drinks. Merging the innovation of this concept with the creativity and music of The Fridge is such a natural fit and we are thrilled to finally be able to open our doors to the public daily now and not just for events. Middle East

How much importance do you place on mental and physical health? Healthy eating and exercise are very important to me – as they are to my team. My favourite break away from work is to go on a long solo hike. You can’t help but have an intense life in this industry, so you must find something to balance it out. Doing something radical like that refreshes me and brings me back to the closest version of myself. Everyone has their thing that works. Working with so much music, the thing that restores me is silence. I’m in awe of everyone within the events industry here – with which we are inextricably linked and part of. I have such a genuine respect and pride for the people in our industry who are of such a high calibre, many who have been bred here. It’s an honour to work with them due to the extreme conditions we are often put under. The kind of curveballs that must be dealt with daily – it doesn’t matter what the turnaround time is or how impossible the job seems, it always gets done. The level of stress that people are working under is slightly insane and it is commendable that people can deal with it. While it’s far from an ideal situation, unfortunately it is part of the industry here and we event professionals are a

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FIRST LOOK

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special kind of animal. It’s the nature of the beast – certainly for anyone doing work in Saudi. You must be able to take it on and run with it if you’re going to be successful. How active are you in Saudi Arabia? We do a massive amount in the Kingdom. We have been Diriyah Gate’s partner of choice when it comes to music since January, working on Layali Diriyah and Bujairi Terrace. We’re working in Dammam programming Ithra three days a week throughout the season at the Abdulaziz Centre for World Culture. In addition, we did all the programming around the Red Sea Film Festival last year, which included big regional stars like Wegz – who is not only a supremely talented and very exciting performer, but also a delightful character and a genuinely nice guy. There’s a massive demand in Saudi Arabia for traditional, heritage-style performers and musicians – and we focus on working with them to produce something with a twist that is contemporary and fresh. It’s a very different vibe to the UAE. It’s exciting to be in a place where there’s such a large population who are predominantly from the country and 70% under the age of 35. As anyone who is operating in the Kingdom will attest, it quickly becomes one of your favourite places to be. The government has Saudi on such an incredible trajectory. There is no place in the world where female employment has been affected more radically; they have gone from 14% to over 50% in less than six years, making it the fastest turnaround anywhere, ever, on the planet. The population is excited, onboard, and everyone is very humble, keen to learn and genuinely excited. It’s a privilege to be able to sincerely offer my 26 years of experience in the region to the Kingdom. What’s next for The Fridge? More! We want to do more arena shows, and see more IP coming from The Fridge in terms of festival programming and curating our own events. We want to see an increasingly high level of creativity in the work that we do around our delivery and the way that we work, building an exciting creative team both on the technical delivery and content side. I’m very excited for the next 16 years! When I came to Dubai in 1997, I had no intention of staying this long. I ended up staying here because of the vision of the country and the constant change and incredibly positive forward-looking response to whatever hits us as a country or a region. This dynamic approach makes it an exciting place to work creatively. I’ve had a longterm view with The Fridge right from inception – and it’s my personal aim that this platform will exist long after I have passed on the baton. Before then, I want to create an everincreasing amount of structure within that middle strata of artists, which is where it all happens. Would there be a point of growth that would be ‘too big’ for The Fridge? If I’ve learned one thing from my time in Dubai so far it is to never say never. It’s amazing where business life and opportunities can take you. With that said, being able to be boutique, agile, light, responsive, vibrant and of-the-moment are all things that are important parts of our DNA. As such, I would see us as being this fearfully fantastic 40- to 50-strong team within the region that has a distinct style of delivery and continues to be a catalyst and a draw on upand-coming talent. And it doesn’t just stop then, it’s once you find that upand-coming talent, then what? That is the part that really interests us and excites me when I look at the future. We’re developing more and more of a musical language that is coming from the region and more artistic maturity is coming to bear. It really is such an inspiring time to be working in the Middle East. Photos: The Fridge www.thefridge.me 17

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EVENT FOCUS

Defected Dubai Protec delivers a complete technical solution as Defected Records hits Dubai for three days of nonstop partying at Soul Beach, JA The Resort.

Middle East

With the likes of Grove Armada, Roger Sanchez and a host of other top electronic acts and DJs appearing throughout the weekend, Defected Dubai welcomed partygoers to Soul Beach, JA The Resort, for a three-day rave, including a Friday-night warehouse party, Saturday-night beach party, and Sunday pool party. With proceeds from Defected Dubai being donated to the Elton John AIDS Foundation, for which Defected’s CEO, Wez Saunders, is a board member, the event took on extra significance. “After living and working in Dubai for several years, I believe it’s the perfect time for Defected to introduce this event to the region,” commented Defected Head of Inclusion, Nathan Jordan ahead of the weekend. “Defected’s events are renowned for bringing people together and providing space for people to get lost in the

music as one. I’m confident that this will be well received by the country’s incredibly diverse communities. It’s important to me that we continue to prioritise creating safer spaces for everyone, and this event will be no different.” Having worked with the client Shiraz Baziko of Beso Group several times previously including the recent elrow XXL show in Dubai, Protec was once again entrusted to deliver the full production, with Gintas Valuntonis taking on Project Manager duties as well as designing the stage and lighting rig. “I’m well aware of Defected and the calibre of events that they host, so we knew that they would be looking for something that is out of the ordinary,” he commented, recalling the stage design process, which started with a rough sketch on paper. “I always like to start with a basic

idea of how it will look, then step by step we can bring it to life.” True to his word, Valuntonis’ design for the main stage saw two 8m by 4m Absen 3.9mm LED screens angled to form an imposing towerlike structure, with another 25m by 1.5m strip of the same LED product positioned in front of the tower to add width and provide a natural separation between the on-stage VIP deck and the rest of the audience. A selection of lighting fixtures adorned the LED screens, with SGM P-2s and P-5s, Robe Robin Pointes, as well as Claypaky Sharpy Plus and Show Batten 100s adding visual dynamism to the on-screen content, which was managed through NovaStar processors and a Resolume media server. Sam Churzin operated an MA Lighting grandMA3 full size console in MA3 mode 21

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EVENT FOCUS

(with a grandMA3 light for back-up), which was equipped with Luminex DMX 8 MkII converters and GigaCore 16RFO ethernet switches. “Working alongside Baz on the creative, we designed the stage to have nothing behind it, so there was a beautiful daytime view of the sea in the background,” Valuntonis explained. “At night, Claypaky Show Batten 100s in the middle of the two screens formed a straight line behind the DJ, which was very striking.” Atmospherics were provided by Le Maitre MVS Hazers, High End Systems FQ-100 fog generators, and Look Solutions OctaJet, supplied by Matrix Laser. “This is the first time we have used the OctaJet,” Valuntonis revealed, discussing the benefits of the product. “It gives you the same effect as CO2, but it has a much smaller footprint and doesn’t require any cannisters or hoses. You can also use it in very small spaces where you can’t use CO2, and it also works better in hot weather.” An L-Acoustics PA comprising K2s, SB28s, and KARAs covered the main stage, with additional SB28s and KARAs providing coverage for the DJ booth and VIP deck. A DiGiCo SD11i console was at FOH, while a Pioneer CDJ-3000 multiplayer, DJM-V10 mixer, and RMX-1000 sampler were supplied for incoming DJs. Protec also designed and supplied for the Warehouse Stage, which was used on the first night of the festival. The setup included Robe Robin Pointe, Claypaky Show Batten 100, Chromlech JARAG-5, and James Thomas Middle East

PixelLine 1044 fixtures; Absen 3.9mm LED; and a L-Acoustics PA. The Protec lighting team included: Head of Lighting, Miguel Paris; Warehouse Stage Programmer/Operator, Geronimo Abad; System Engineer, Nestor Piquero; and Technicians, Nelson Noche, Muhammad A. Insari, Premamohan Pillai, Richard Remo, Jeff J. Patria, Ryan Noche, and Freddy Godinho. Protec’s Head of Video, Yevgeniy Karyagin, worked with System Engineer Vladimir Zakharov on the video supply, while Head of Audio, Evgenii Shparenkov, and System Designer, Danila Khavtorin oversaw the audio deployment. Led by General Manager Matt Allen, the rest of the Protec team on the project included: Head of Rigging, Qasir Ali; Head of Staging, Neil McCarthy; Site Managers, Xolani S. Mhlongo, Tinashe Lionel Machekano, and Marlon P. Eclarino; System technicians, Vladimir Voloshin, and Haider Ali; and Stage Technicians, Anastasia Shmokhina, and Zaid Maqbool. Despite the heat, humidity and sand providing a challenge, Valuntonis was pleased with the result. “Difficult conditions will always make load-in more challenging, but we’re used to them,” he concluded. “It was a pleasure to work with the Defected team. We wanted to create and impact and ‘wow’ moments that the audience remember, and I think we achieved our aim.” Photos: Protec www.defecteddubai.com www.protecevents.com

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EVENT FOCUS

d&b Middle East Showcase As Dubai Opera and d&b audiotechnik celebrate their new partnership with an evening of insight and entertainment, TPiMEA heads for a night at the opera to hear about the ambitious plans for d&b Middle East and experience Dubai Opera Studio’s new Soundscape system in full flow.

Following the recent announcement of a strategic partnership between d&b audiotechnik and Dubai Opera, which saw the audio specialist named an Official Technology Partner for the world-class venue and a brandnew Soundscape system installed in its Studio space, d&b invited a selection of audio industry experts – along with TPiMEA – for an evening of live performances, networking, canapes, and drinks. Brad Maiden, d&b Middle East’s VP of Business Development, explained the purpose of the event: “The d&b Middle East Showcase in the Studio at Dubai Opera was our way to celebrate d&b audiotechnik’s Official Technology Partnership with one of the most beautiful and culturally important performing arts centres in the Middle East, and promote the creativity, innovation, and connectedness that the Middle East is known for,” he commented. Held at Dubai Opera’s Soundscape-equipped Studio, the evening saw a live performance from classical oud player Joseph Tawadros, who played a spine-tingling rendition of the oldest known piece of music – the 3,500-year-old Hurrian Hymn No. 6 – as well as some of his own compositions. There was also a demonstration of the capabilities of the Soundscape system, before DJ Paul Nolan led the audience on a journey through electronica with his original music, before rounding out the evening with a tight set that provided the ideal backdrop for networking over refreshments. While Maiden and Head of Dubai Opera Dr Paolo Petrocelli both took the stage for speeches during the evening, the night’s keynote was delivered by d&b’s CEO, Amnon Harman, who shared his vision for the future of live events. “I found Amnon’s speech insightful and inspiring, and Paolo’s welcoming of the industry to Dubai Opera was a perfect introduction to how d&b audiotechik and Dubai Opera want to support and nurture live performance in the region,” Maiden shared. “What a great industry we have here! We are very excited for the future.” In his keynote, Harman spoke about the company’s exciting plans for d&b Middle East, explaining how d&b is transitioning from audio manufacturer to full-blown event technology company, with a particular focus on how d&b Middle East

technology could help redefine the future of the live events industry in the region and beyond. “Imagine that you are watching your favourite artist in a stunning venue with the best production you’ve ever seen and the best sound you’ve ever heard,” he told the audience. “Now imagine that you’re sitting somewhere else 1,000km away in a pop-up stage or even remote stage watching from home, and you’re getting the same experience as if you were in the main venue. This is how we see the future of life events – a combination of what is happening on stage where people are together enjoying life-changing experiences, with many more people worldwide tuning in to see the show.” Noting “a strong set of mutual goals” between d&b and Dubai Opera, Harman believes the partnership is well suited. “We are driven by our mutual goals: Our willingness to explore new

technological frontiers to experience a multitude of artforms, our commitment to the development of the Middle East performing arts industry into a sustainable industry that is globally recognised as fostering the very best talent, and, importantly, our combined sense of unity and togetherness, working as one team – at d&b, we call this ‘WirGefühl’,” he explained. With Dubai Opera Studio packed with the great and good of the audio industry, including many who had travelled from outside the region, the event proved to be not only a great excuse to catch up with many familiar industry faces, but also a highly successful one in terms of making new connections – not to mention a valuable opportunity to hear Soundscape in all its glory. Photos: d&b audiotechnik www.dbaudio.com www.dubaiopera.com

Facing page: d&b Middle East VP of Business Development, Brad Maiden. Above: oud player, Joseph Tawadros; DJ, Paul Nolan; d&b audiotechnik CEO, Amnon Harman. 25

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100 years of the Turkish Republic With the Republic of Turkey celebrating its centenary on 29 October, TPiMEA heads to Istanbul to experience a triumphant production on a truly epic scale…

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One hundred years is certainly a milestone that deserves to be marked with something special, and if previous productions from the Municipality of Istanbul are anything to go by, the city’s largest 100 Years Celebration event was always bound to be spectacular. Tasked once again with producing a production worthy of the momentous occasion was Imagina Productions – the company behind many of Istanbul’s largest and most impressive shows in living memory. With our previous coverage of Imagina’s projects being restricted to remote reporting, we jumped at the opportunity to travel to Istanbul to witness the company’s biggest show to date in person. If there was ever any doubt about how much of a big deal the 100-year anniversary was for the country, that was extinguished on the ride from the airport to the hotel, with giant Turkey flags draped from every building and a sense of anticipation palpable throughout the city even two days before the big day. Our first encounter Middle East

with the impressive Maltepe show site came during a windswept dress rehearsal, where we were welcomed to FOH by the husband-and-wife team behind Imagina Productions, Sedat Gündüz and Işıl Evgin Gündüz, who wound the clocks back on the origins of this massive production. “The story started a year ago, when we produced a much smaller show for the Municipality of Istanbul for the 99th year,” Evgin Gündüz recalled. “Everybody knew how important the 100-year celebration was going to be, so as soon as the 99th was done, they started developing the concept for this show.” Despite the early start to the concept stage, preparations for the production were anything but smooth, with a severe earthquake followed by national elections resulting in the project only being officially greenlighted in July – a month that also brought a major change in the lives of Sedat and Işıl. “With the project confirmation came the birth of our first child,” the couple smiled.

“What followed from then was three months of complete madness!” With an open brief to create a spectacular show worthy of this national milestone, it was clear from the start that a world-class team would be required. “From the moment we started talking about this show, we knew that we would need reinforcements to help grow our vision and make it a reality,” Evgin Gündüz explained. The company quickly set about assembling a crack team of creatives from all over the world, including Artistic Director, Hans Mücke, and Creative Consultants, Krista Monson, and Denis Astakhov. “From a creative perspective, working with Hans, Krista and Denis was a blessing,” Evgin Gündüz commented. “Their involvement took the production to the next level.” Mücke added: “A mixture of people from all over the world came together with all different kinds of ideas. I love that it is possible to create a unique story with all these different minds combining, working towards one common goal.”

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With Istanbul’s Mayor, who is leading something of a cultural resurgence in the city, set to be present to deliver a keynote speech ahead of the show, the concepts of unity, hope and love were all ingrained in the production. “We wanted to create something that empowers young people and tells them that there is a path forward for them to thrive in this country, and if they strive to follow their dreams, anything is possible, and everything will be OK,” Evgin Gündüz stated. Alongside the messages of empowerment, the production also had a strong factual element, which required extensive research from the production team. “We dug deep into the history of the Republic, trying to find interesting elements that are not necessarily common knowledge for everyone,” Evgin Gündüz explained. Having worked on several Imagina-produced events in the past, Astakhov already has a good grounding in Turkish history. “What made this different from the other previous shows I had worked on with Imagina was that it is not related to a particular event in the history of the country but the history of the whole country that led to the foundation of the Turkish Republic 100 years Middle East

ago,” he explained. “So, where before I would focus my attention and go deep on a particular topic, this was a much more open brief. It had to be very ambitious and make a statement not only for the citizens of Turkey, but also within the industry. We used cutting-edge tech and top-notch content to make sure the audience connected emotionally with the show and this grand celebration.” Alongside his role as Creative Consultant, Astakhov was also the Content Director, with his company, Avocado Toast, working with Milkyway to produce the LED screen content. “Every word and every pixel on the screen were carefully considered and researched.” ‘Being here is a huge inspiration’ The creative concept centred around the story of a young girl named Ayse – played by 12-year-old actor and gymnast Doga Kale and voiced by Zeynep under the guidance of Voiceover Coach Aziz Acar. Dreaming of becoming a doctor, Ayse meets a magic sycamore tree, voiced by Emmy Award-winning actor Haluk Bilginer, which guides her on a journey where she meets some of

Turkey’s greatest pioneers, who teach her about the history of the Republic and inspire her to go after her dreams. “It was important to have a fixed point to tell the story around, the little girl’s journey. Once we had that in place, we built everything from there,” Mücke explained of the concept. Evgin Gündüz added: “We were very lucky with our main character. She brought the reality to the stage and at only 12 years old, her performance was outstanding.” One scenic element that certainly stood out on stage was the magic tree – a striking set piece, crafted by Antrepo 15A from a combination of metal, concrete, wood, foam, and fabric and standing at 16m tall in the centre of the stage. “From the early concept phase, Sedat always had the vision of a massive tree in the middle of the stage. I thought it was crazy at first, but I know him, and I trust him, so we all went with it and got behind the vision,” Evgin Gündüz revealed. “We are so happy with how it turned out,” she added. “There are even discussions about repurposing the tree as an installation in one of the city’s squares as a memory of the show.”

Ayse’s first port of call on the journey of discovery was a meeting with the founder of the Republic, Kemal Atatürk – a universally loved figure whose image on the LED screens provoked a rapturous reaction from the massive crowd, which only grew when the likeness of Atatürk inexplicably began to talk. “We used AI deepfake technology to bring Atatürk to life,” Astakhov recalled, explaining the process in basic terms. “Trying to bring this historical figure to life was like diving into the unknown,” he continued. “You must have the skills, especially when you’re aiming for the kind of quality needed for those massive screens in the show. It’s a unique challenge, a real game-changer. It’s not just about the tech wizardry; there’s a deeper, emotional side to it. There’s this profound honour and responsibility that hits you. It’s not just about pixels and algorithms; it’s about forging a connection between the audience and their beloved leader.” The Atatürk content wasn’t the only area of the production where Astakhov utilised AI technology. “Times are changing,” he stated. “We are now using Unreal Engine to create the visuals, and we are using AI and machine learning tools more and more during the pre-production and production process.” The Content Director gave the example of the graphic textures of the village content that was displayed on the LED screens, which were generated using AI. “We used some special tools such as Stable Diffusion, with some plugins that allowed us to create a 3D model of the village and generate the texture of a small Turkish town during the sunset. The model could even generate all the sunlight and shadows,” he revealed. “A lot of time was saved in this process because traditionally

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“We weren’t just trying to put on a cool show; the team had bigger plans. We were all about diving into the latest tech, making things smoother and more efficient... With the help of AI, the whole process took two or three hours.” Denis Astakhov, Content Director

– even a year ago – an artist would have to take the same 3D mock-up and spend two or three weeks finessing every pixel to look perfect. He added: “We weren’t just trying to put on a cool show; the team had bigger plans. We were all about diving into the latest tech, making things smoother and more efficient... With the help of AI, the whole process took two or three hours.” This also helped when it came to rendering time, which went from potentially hundreds of hours to a matter of minutes. Reflecting on his role on the project, Astakhov described it as “a major milestone” in his career. “From a professional perspective, you don’t always take the time to take stock of your achievements while they’re happening,” he told TPiMEA as tension was building backstage just hours before the show. “I think it’s going to be a goosebump-inducing moment when the show starts, and we see the reaction from this passionate crowd who are filled with love for their country. Being here is a huge inspiration.” ‘A crazy, wonderful genius’ Musical Director for the production was Alican Okan of Tilde Studio. Described by Mücke as “one of the best composers I have ever worked with” and “a crazy, wonderful genius”, Okan has been a mainstay on Imagina projects for many years. “I’ve worked with Sedat and Işıl on multiple

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shows and we’ve been together every step of the way,” Okan told TPiMEA during a quick chat in the production office on the day of the show. With the evening featuring a range of performances from famous Turkish stars, including Sıla Gencoğlu and Edis as well as pianist İlyun Bürkev, Okan’s focus was on the storytelling elements. “The main show lasted for around 40 minutes, and I tried to imbue it with the sense of tension and then release and up-and-down throughout,” he explained. Discussing his creative process, Okan recalled how he began composing the score without seeing any video content. “The story came to me as still images,” he revealed. “I looked at those images and tried to express the emotions written in the storyline. I came out with a first draft and sent it to the pianist; we then worked on harmonies and began the orchestration.” As with every department, alterations to the score were always going to be required. “There were some instances where we had to create extra time in a section to allow dancers more time to handle large props and enter and exit the stage,” Okan explained, adding that this is normal and to be expected on a show of this size and complexity. “This is the harmony of the show. It’s like a well-made cocktail – every ingredient must work well together.” Giving his overall feelings towards the project, Okan described his pride at playing his part in the country’s biggest celebration. “We helped to create something emotional that gave hope and allowed people to connect with their roots,” he reflected. “We wanted to make people feel proud, united, excited, and happy, and in the end, I think the audience will leave with hope in their hearts.” Choreographers Ammar Adiloğlu and Marek Solnicka oversaw a huge ensemble cast of more than 150 dancers, gymnasts, aerialists and acrobats, with the Costume Design department led by Tuğçe Özocak, Costume Production headed up by Cansu Mutlu, Makeup Design by Burcu Taş, and Hair Styling by Hüseyin Altun. Büşra Tatar led the Backstage Team of Ayşegül Görgülü Çoban, and Melike Nisa Uzun, while the wider Production Team comprised Kemal Özdemir, Eren Aydın, Mert Şahin, Alper Öcal, Okan Özgen, and Muzaffer Karataş. ‘Our tree was magical’ With a gigantic stage measuring more than 100m across, there was always a risk that the performers would be lost in its grandeur. “We discussed the huge stage quite early in the planning,” Mücke revealed. “The people are tiny compared. So, it was clear that we only had a chance of making it work with a lot of help from the camera.” The cameras weren’t just vital for the 650,000-plus crowd in attendance, with millions more watching the live broadcast – which was handled by Piktora and overseen by Broadcast Director, Can Evgin and Broadcast Director of Photography, Berkay Gülüm. “We had to take care of the broadcast as much as possible,” Gündüz told TPiMEA. “Everything was designed with an eye on how it would look for the millions watching on TV and on YouTube.” To ensure the show lighting was on point, Imagina brought in a large lighting team including: Lighting Director, Namık Genç; Lighting Designers, Çetin Türkmenli and Serdar Kastaş; Broadcast Lighting Consultant, Yaşar Yılmaz; Middle East

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and Lighting Programmers, Çetin Türkmenli and Burhan Sezer. Gündüz described how the lighting was a mixture of architectural, theatrical, and classic rock ’n’ roll. “As we had many theatrical acts between the main shows, we had to make scenic elements such as the tree and the bridge at the back of the stage look more like a village, so we utilised a more theatrical style of lighting for those,” he detailed, noting that ADJ Focus Profile and Robe Spiider lighting fixtures were selected for this purpose. Claypaky Xtylos Aqua and Mythos 2 fixtures bordered the LED screens to “add dynamism and power to the content, matching the impact from the content on screen”. A huge deployment of “incredibly versatile” CHAUVET Professional Color Strike Ms meanwhile were used to key light the performers on stage as well as for a range of strobe and colour wash effects. The six main lighting towers were equipped with a selection of fixtures including Martin MAC Viper Profiles and Performances along with VariLite VL 3600s. “We used these positions to wash the audience around the stage, creating a big Middle East

picture that showed the enormity of the crowd,” Gündüz commented. With the tree representing a major protagonist in the storyline, no effort was spared in ensuring that it stood out. “Our tree was magical,” Gündüz smiled. “We integrated LED dots inside the tree as well as the bridge and ran them from Madrix software. We also had traditional lanterns, as well as Astera LED balls on Wahlberg Winches. We wanted to create a magical yet warm effect, so we found the balance between traditional and modern-looking lighting solutions.” The rest of the impressive 1,200-plus fixture lighting rig comprised: Robe Robin 800s; Martin MAC Encore CLD Washes; ADJ Vizi Beam 12RXs, Hex32 LED Panels, and Jolt FX Panels; Elation Paladin Panels, Bricks and Cubes; and FOS Technologies Cyclone Pro D2s. Imagina recently invested in a full package of Syncronorm Depence, with Depence Operator Ziya Gökoğlu utilising R3 software for this project. “We used Depence not only to programme and to finesse the broadcast shots, but also for our presentation to the Municipality,” Gündüz revealed, explaining the benefits of the software.

“We can use many tools like automated elements, water reflections, and draw everything in a 3D world – whatever was on stage was on Depence. This was a huge help not just for our planning but to give a strong visual representation to the client. It was one of the best investments we made for this production.” Lighting was operated on an MA Lighting grandMA3 running in MA3 mode. “As well as a dedicated lighting studio, we have our own MA3 and the grandMA3 viz-key, which allows us to use unlimited fixtures and Depence universes. The new XL MPUs give you much more capacity,” Gündüz noted. “We saw in this year’s Eurovision Song Contest that MA3 can work well for a live broadcast, and I’m pleased to say that it never failed for us.” Lighting was supplied by Niclen, Ego Technical, and Phantom, with LEDs GO providing dot lights and LED strips, and Pyroterra supplying LED props used in the choreography. Video played a huge role in the production, with a massive inventory of 2,200 sq m of outdoor 3.9mm LED screen creating the main shape of the stage design. In fact, so extensive

was the LED deployment that Imagina had to go to no fewer than four different suppliers – EMN Prodüksiyon, Phantom, Ledas, and alfaLED – to source the required kit. “There isn’t a single company in Turkey that can deliver the quantity of LED required. Each company had 400 to 500 sq m of LED and there were various brands, models, and ages,” Gündüz revealed. This lack of availability brought with it a significant challenge when it came to colour matching and ensuring that refresh rates were uniform. “We used Dataton WATCHOUT V6 as the main server – 20 4K outputs for main and the same for backup,” Gündüz noted, explaining the video control setup. “We also had two Analog Way Aquilon C+ screen management systems, which we linked to give us 64 4K input channels.” Video control systems were supplied by SK Pro. ‘A show for the Turkish people’ With a massive crowd in attendance, power was paramount when it came to the audio deployment. Imagina selected a JBL PA comprising VTX V25 loudspeakers and G28 subwoofers, augmented by eight delay clusters

of L-Acoustics K2 and KARA II. “We went with the JBL 25s because they are very powerful for huge open-air areas,” Gündüz stated. “We managed to achieve a good balance between the JBL PA and L-Acoustics delays and even coverage for the whole audience.” A Soundcraft Vi6 console was used to control the stage show music and mic mix, with DiGiCo SD8s at FOH and monitors, and an SD10 for the broadcast mix. The audio equipment was supplied by Altinçizme. The production utilised a Green-Go communications system, designed by Aziz Berk Erten and supplied by Rentall. “It was the first time that we had used Green-Go and I was impressed,” Gündüz reported. “It was very user friendly and easy to set up, with everything on one network.” Gündüz was keen to note the importance of QLab, describing it as “the heart” of the show. “Using QLab as our main workhorse, we were able to control everything within the show by timecode,” he commented. “We used a Presonus 1824C Audio Interface with it, which allowed us to send commands to multiple locations.”

Another solution that Gündüz was particularly pleased with was CuePilot, which was operated by Javier Delgado. “This show has so many elements, which makes it ideal for CuePilot,” he explained. “With a regular director, it’s not possible to create this kind of dynamism in the broadcast. The timing of shots with the music was incredible and only made possible by CuePilot. It changed everything.” Automation was a prominent feature of the show, with various stage elements incorporating movement, including a 5m by 2m stage lift that ascended to reveal a grand piano on stage, and the bridge, which rotated to connect its two halves. Germany-based Stage Kinetik handled the stage automation, providing Movecat VMKS hoists and VMW-S performer winches, as well as the grand piano lift and iMotion control system. “We were looking initially only for the performer winches, then after speaking with Stage Kinetik, I discovered they had many options that could help with the production, so I asked them to throw them in the truck and bring them from Germany,” Gündüz recalled. “Working with them was a very smooth process – we were

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very happy with what they delivered.” Additional kinetic winches were supplied by Phantom, with Head Rigger, Hakan Acar maintaining an overview on installation throughout the site. Pyrotechnics were designed by Ronny Frank of Elements Entertainment, with the pyro and fireworks supplied locally by Efektif Prodüksiyon and Pyro World Antalya. There was also a set piece featuring an aerial performer flying in on a string of giant balloons, which were supplied by Studio Noe. Director of Set Production, Murat Sezer oversaw the vast and highly complicated set, which included a 1,200 sq m reflection pool that held 90 tonnes of water. The main staging and structure was supplied by Giga Solution and set company, Karizma Metal. Generators and power distro were supplied by LND Energy, while logistics were handled by Nobel and Delano Travel took care of transport and hospitality. The result of outstanding artistic creativity combined with mind-boggling organisational skills and technical excellence, there’s no doubt that this show lived up to its billing as Turkey’s biggest ever celebration. And as was evident by the hugs and high-fives all round at FOH during the show’s spectacular fireworks finale, for Imagina’s Sedat and Işıl, to put on a show of this magnitude just three months after welcoming their first child into the world is a truly outstanding achievement. “This was a show for the Turkish people,” concluded Mücke. “The reaction of the crowd at the end made all the work worth it.” Photos: Imagina Productions www.imagina.com.tr

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World Combat Games 2023 As Riyadh welcomes the world’s top martial artists, a striking Opening Ceremony celebrates the culture of Saudi Arabia as well as the inclusive nature of the competition and the diverse talent on show.

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The latest addition to Saudi Arabia’s growing sporting credentials, the Riyadh 2023 World Combat Games saw more than 1,500 athletes from 120-plus countries compete in a range of combat sports and martial arts competitions. The event got underway with a grand Opening Ceremony that highlighted the cultural, historical, and artistic appeal of the host country and celebrated the outstanding skill and dedication of the competitors, paying particular attention to the para-athletes. Tasked with delivering the Opening Ceremony was Riyadh-based TIME Entertainment. “With a major event such as the World Combat Games 2023 being hosted in Saudi Arabia for the first time, we shaped the story to reflect the core values of both the martial arts disciplines as well as the values of the hosting country that are strongly ingrained within its DNA,” stated CEO, Obada Awad. After working on some of Saudi Arabia’s highest profile events including the Opening Ceremonies for both Formula E and Diriyah Season, the company was ideally placed to take on the World Combat Games. “We’ve been established since 2012, but we have been Middle East

focusing more on large-scale ceremonies over the past few years,” explained Awad. “As soon as the World Combat Games RFP crossed our desk, we were immediately interested, and we wanted to put our best team on it.” Among the all-star team on the project were Creative Director Giuliano Peparini as well as technical design, technical direction and project management specialist, A LOUD MINORITY (ALM). “Considering the timeframe of the project delivery, it was imperative for us to work with trusted partners and local and international suppliers. All the companies and individuals we have been working with shared the same level of commitment to delivering a world-class project,” Awad commented. “We had been speaking with Giuliano for a while and we felt that the World Combat Games were a perfect fit for his expertise. ALM were amazing,” he added. “They played a huge role in integrating the creative and the technical and ensuring that the production came in on budget.” ALM’s Director, Karl Jenkins added more detail on the company’s role on the production. “We came in during the pitching phase, working with the producer to define and calibrate the

budgets for the technical production of the creative, which was being conceived in different parts of the world,” he explained. “We sit between the producer and the creative throughout the process to make sure that what we’re pitching is achievable from both a physics and a financial point of view. That is one of the key areas where we add value.” The creative told the story of a young martial arts amateur, Nawaf, who learned from a grand master to become a true warrior. “The Artistic Director’s vision was to fuse outstanding human performances with choreography, lights, costumes, special effects, originally composed music, with an international and local cast of martial arts specialists and acrobatic performers,” Awad explained. “The result was a truly poetic and at the same time energising show that was hugely enjoyed by the public and athletes alike.” The show brought together several elements, including the initial protocol segments featuring the Saudi Arabia national anthem and the declaration of the games opening, followed by a performance by Saudi star Zena Emad, who composed an original song for the event. “Part

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of our task was to help curate and integrate those elements with the entertainment side of the production,” Jenkins recalled. “We also had martial arts demonstrations that needed to be integrated into the creative element without appearing jarring. It was a challenge – an interesting and rewarding journey.” ‘The full package’ The project carried some complexities from a production standpoint. “The main challenge we faced revolved around the venue,” Awad stated, recalling how the multi-sports complex at Prince Faisal bin Fahad Olympic Complex that hosted the Opening Ceremony was “probably not the ideal scenery for an artistic production”. He added: “To address this challenge and ensure the safety of both the performers and the audience, we collaborated with a specialised engineering team, beside our technical team. This allowed us to identify any potential weaknesses or limitations in the venue’s structure and implement the required measures to ensure that it could safely support the required weight and rigging for the event.” Jenkins concurred, recalling how ALM assisted with creating technical drawings of the Middle East

venue. “We reached out to people who had done shows there previously to get the information we needed,” he commented. “That’s one of the advantages we bring over hiring just a single Technical Director – we come as a team of people with contacts and specialisms in a range of different disciplines. When you hire us, you get the full package.” Another challenge was the timeframe for production – just five weeks from green light to load-in. “We needed to produce and implement as quickly as possible, especially with putting the creative elements together,” Awad highlighted. “The tight timeline only served to reaffirm our dedication to delivering an exceptional experience for all involved in the event.” For ALM, the project confirmation came at an opportune moment. “Luckily, we had just had a project move that was planned for exactly the same time, so we had some capacity. As soon as I got the call, I jumped on a plane directly to Riyadh the next day to do a site visit, meet the team and the client. We had a whirlwind weekend where pretty much the entire project was planned and scoped,” he recalled. “We’ve become extremely adept at working quickly to very tight timelines,” Jenkins

continued, adding that this is very much not his preferred way of working. “Of course, we would always prefer more time and it’s true that the more time we have, the better the result will be, but we understand that this is often the way it goes in the region.” With time at a premium, vendors that could be trusted to deliver on schedule and to the high standards befitting a large-scale international showcase such as this were essential. MediaPro International supplied a complete technical package, ShowTex Middle East provided draping, while Seven Production handled the live broadcast element of the event. “Once the technical design and specification was complete, suppliers had been engaged and project plan activated, ALM’s function as technical producers then switched focus to act as the conduit between the creative team and the technical delivery.” Jenkins revealed. “We want to make sure that communication between creative and technical is smooth and that the whole package works together.” ‘A supplier that gives you comfort’ MediaPro International supplied audio, lighting, projection, rigging, and trussing. “I have worked

PRODUCTION PROFILE

with MediaPro a few times, and the team we had out with us in Riyadh were excellent,” Jenkins stated. “They were flexible and proactive in getting the equipment we wanted at short notice.” Awad added: “MediaPro is a supplier that gives you comfort. The team was always available, and any changes were actioned with the minimum amount of headache.” Discussing the supply, MediaPro International’s COO, Shaam Pudaruth, recalled the early stages of the project. “It was still a work in progress when we got involved,” he recalled. “We were given an understanding of the creative concept, and after multiple technical discussions with TIME Entertainment and ALM, we put together a workable solution that fit the budget and the creative requirements.” A key aspect of the technical solution was the Panasonic PT-RZ34K projector, which displayed the video content and, according to Pudaruth, “gave life to the whole show”. A total of 18 of the fixtures were provided, with six used to cover the floor area, eight covering the ramps, and a further four on the bridge and sails – all equipped with ET-D75LE20 zoom lenses. Content was managed through two disguise vx 4 media servers, with Lightware HDMI matrix switcher and Rosendahl Nanosyncs HD video sync generator. The lighting inventory featured several Ayrton fixtures, including 80 Perseo Middle East

Profile, 100 Perseo Beam, and 20 MagicPanel FX, as well as 40 GLP impression X5, 30 LED blinders, and four Robe Robin BMFL FollowSpot LTs, all controlled by two ETC High End Systems Hog 4 consoles. Atmospherics came in the form of MDG ATMe Haze Generators as well as Antari Ice Fog packages and AF3 fans. MediaPro also supplied and L-Acoustics sound system including flown KARA II loudspeakers, X15 HiQ monitors, and KS28 subs, as well as 5XT loudspeakers ground stacked for fill. A DiGiCo Quantum 338 was the console of choice, with QLab software used for playback. Shure Axient Digital Wireless was deployed to handle RF, with a range of microphones from Shure and DPA utilised. A Shure PSM 1000 IEM package was also deployed, while a Clear-Com Eclipse HX Digital Matrix system handled communications. With MediaPro also handling all the trussing and rigging elements of the production, Pudaruth recalled the challenge posed by the variable weight-loading capacities and availability of hanging points in the venue. “The AVL plots had to be revised a few times, which was all done on the go,” he revealed. “The main planning required was for offloading our kit and rigging the truss.” Inside the venue, the MediaPro team did all the central rigging and got the truss to working height in a single day. “We were informed that

there would be a multiple height stage, so the staging would need to occupy the centre area,” Pudaruth explained. “Due to the age of the building and the lack of lighting on the gantry, we identified all the points in CAD, then followed the drawing. Once we had overcome the initial challenges, the load-in was smooth and the show went exactly as planned.” ‘Value and elegance’ Having been in communication with TIME Entertainment for quite some time, ShowTex Middle East provided draping for the venue. “The brief from TIME Entertainment was very detailed, stating size, quantity and hang points for each area,” commented Romeo Sale, Regional Sales Manager of KSA/Qatar, ShowTex Middle East. “We provided our Black Molton masking drape as well as our aluminium tracks on specific areas.” The delivery timeline was the biggest challenge. “It was shorter than what we normally work with,” he admitted. “However, close coordination with TIME Entertainment and the fast action of our production, logistics, and installation team, we were able to deliver within the required timeframe.” Looking back on the project, the Regional Sales Manager was pleased with the efficacy of what he described as “the simplest yet most impactful supply” of black masking drapes and

aluminium tracks. “We are happy with the project overall,” he said. “We were able to add value and elegance to the venue and the entire event.” ‘It must be seamless’ With the production broadcasted to over 100 TV channels worldwide and streamed on various online platforms, the live broadcast element, handled by Seven Production, added another layer of complexity to proceedings. “We delivered the Opening Ceremony as well as all the sports action over the 10 days of the competition, taking place in five different venues,” commented Seven Production’s Business Development Director, Pedro Rosa, detailing the company’s process. “In the briefing we received the usual vital information about accreditation, camera plans, programming, streaming, commentary, the TV Production plan, and the different competitions. There was a lot of information to consider but the organisation was fantastic.” The Seven Production team deployed five OB vans to cover all five venues, each equipped with 10 cameras, two jibs, two super slomo, wireless cameras, and two ES Broadcast EVS XT4K four-channel production servers. “We had one OB van as a host broadcast feeding over 100 TV channels all over the world with two feeds,” Rosa noted. “We also had 15 TVU streaming servers

with cameras streaming each sport directly on YouTube, with streaming servers for both world feeds also available on YouTube.” A large quantity of fibre stage boxes was used to send and receive signals from the venue to the OB truck and vice versa. “We had around 20km of SMPTE fibre cables on site,” Rosa revealed, adding that the company also did all the programming and camera planning for the event. “With our large presence in KSA, mainly in Riyadh, it was easy to have all our resources ready for action,” he added. According to Rosa, preparation was key to the success of this project. “We tend to do a lot of prep work so we can hit the ground running from the moment we arrive on site,” he commented. “The goal is to minimise the time we spend on site so we can be as competitive commercially as possible. To do this, we conduct site visits and have operational meetings with the client, allowing our team to have their work planned perfectly – once we’re on-site, it must be absolutely seamless.” With a crew of more than 120 people including a director and a large part of the creative team that travelled from Europe, communication and logistical challenges combined with the sheer size of the production and technical complexity of a live event with worldwide viewers, following different competitions happening in parallel.

“We faced these challenges naturally based on the belief that we have a great team with a huge amount of experience in this type of work,” Rosa said, reflecting on the feat. “We are proud to say that we did a good job, and the client was happy,” he concluded. “We are also pleased that this production was all delivered in-house, with Seven Production’s own equipment, all while other projects were taking place at the same time in other locations across the Middle East.” “We wanted to do something a bit different than the other ceremonies happening in the country. It was a very story-driven production,” stated TIME Entertainment’s Awad, reflecting on the achievement. “You can put together a show in 45 days but doing that and staying true to your creative intentions and what you committed to is where the real challenge lies. We didn’t want to take shortcuts to make it happen – we wanted to make sure we were creating something unique that could be appreciated by people of any age and any nationality.” Photos: TIME Entertainment www.time-entertainment.com www.7production.net www.aloudminority.com www.mediaproav.com www.showtex.com 49

Middle East

tpi_TIMEEnt_DPS_v3.pdf

26.11.23

16:46

RIYADH

CMY

WORLD COMBAT GAMES

THE PIONEER SAUDI STORYTELLERS The production of the World Combat Games 2023 marks another milestone for Time Entertainment's endeavor as a leading Saudi world-class producer of globally recognized celebrations and ceremonies.

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A Captivating Journey of a Champion The Opening Ceremony of the World Combat Games, masterfully narrated the tale of Nawaf, a young apprentice, and his quest to become a champion. This narrative was brought to life through a visually spectacular performance, underscored by an emotionally captivating journey.

PRODUCTION PROFILE

The Fridge Presents: Ben&Ben The Fridge brings the Filipino indie-folk band to Dubai’s Coca-Cola Arena on a landmark night for the artist, promoter, and venue. TPiMEA reports…

Middle East

PRODUCTION PROFILE

Made up of twin brother frontmen Miguel and Paulo Benjamin along with their seven-piece band, folk-pop collective Ben&Ben have more than a billion online streams, a triple-platinumselling album, and legions of fans both inside and outside of their native Philippines. This October, the band played their first ever solo arena show outside of their home country, brought to Dubai by The Fridge, much to the delight of a rapturous and adoring Coca-Cola Arena audience. Speaking to TPiMEA prior to the show, The Fridge Founder and Director, Shelley Frost, was clearly just as excited as the thousands of screaming Ben&Ben fans who were pouring into the venue. “It’s a massive night,” she beamed. “Not only is this The Fridge’s first arena show, but it’s also Ben&Ben’s first solo arena show outside of the Philippines and the first time that a Filipino band has headlined Coca-Cola Arena.” Full disclosure: Ben&Ben at Coca-Cola Arena was not always on the itinerary for our trip to Dubai. We had in fact been planning on covering a completely different production, KISS, that was due to take place at the same venue the previous Middle East

night. However, with that gig cancelled at short notice, we jumped at the chance of attending this show in its lieu. The two concerts were linked from a production standpoint, with Ben&Ben originally set to utilise the stage design and much of the equipment planned to be used on KISS. However, with the cancellation of the KISS show, it was decided that the best option for all concerned would be to redesign the lighting plot – a task that fell to Technical Director Martin Lauth. “The rig originally designed for KISS was oriented lengthways to the stage, which is unusual for a rock ’n’ roll show,” he told TPiMEA. “After we heard of the cancellation, I redesigned the rig, changing the orientation to more of a typical rock ’n’ roll design with back truss, mid truss, and front trusses. We kept two trusses from the KISS design that were staggered at the front, which meant that changes to the rigging points were kept to a minimum.” Lighting, video, and rigging were supplied by MediaPro International, while audio was supplied by Clair Global. “Without the full commitment of all the suppliers and the venue, this show

simply would not have been possible,” Lauth commented. “Everybody pulled together to make sure that we could put on an amazing show in difficult circumstances.” MediaPro International supplied a lighting package including 45 Claypaky Scenius Profiles, 35 GLP JDC1s, 10 Ayrton Argo 6 and 34 Cobras, 27 Martin MAC Ultra Wash, and 12 LED four-cell blinders, with an MA Lighting grandMA3 full size console operating in MA2 mode used for control and switching and processing handled by Luminex GigaCore 10 and LumiNode 4. Gloshine 8mm LED was used to create a large 14m by 7.5m central screen, which was flanked by two 3.5m by 7.5m side screens slightly further downstage, also made from the Gloshine LED product. Content was managed through a Barco E2 Event Master processor, Dataton WATCHOUT media server and Resolume Arena 7 software, with an Elgato Stream Deck used for control. The screen content was created by Ben&Ben with the design, movement and transitions impeccably timed to the songs, elevating the performance and audience experience throughout the show. Ankit Gupta, MediaPro

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PRODUCTION PROFILE

“Without the full commitment of all the suppliers and the venue, this show simply would not have been possible. Everybody pulled together to make sure that we could put on an amazing show in difficult circumstances.” Martin Lauth, Technical Director

Middle East

International’s PM on the project, spoke of the challenge that the design change provided. “The rigging plot is usually locked in 14 days in advance, but we had to seek special approval from Coca-Cola Arena to make changes so late in the day,” he explained. “Thankfully, everything turned out to be flawless and everybody was happy with the change.” Gupta recalled how he and his team had to stick to a strict schedule to ensure everything was ready on time. “We stuck to a straightforward load-in schedule, which spanned 30 hours in total: 12 hours on show day minus two for the setup of hoists, truss, lights, video and FOH; 12 hours on show day minus one for cable management, internal technical checks, fixture replacements, content loading for the support band and lighting programming and content checks for Ben&Ben; and six hours on show day for light programming and content checks for the support band, light programming, and sound check for Ben&Ben.” For audio, Clair Global supplied an L-Acoustics system comprising mains of 12 K1s flown and four K2s down, outfills of eight K1s flown and four K2s down, flown subs of eight K1SBs and 10 sets of three KS28s ground stacked, along with KARA II and A15 fills. “There were tons of subs!” Lauth exclaimed. “We wouldn’t usually have needed that many for

this size of show, but since they were all prepped and ready in the warehouse, Clair was kind enough to send them out. They also supplied the whole control and microphone package that was originally specified for KISS,” he added. Backline meanwhile was provided by MEI – a company that has a long history of working with The Fridge. “We are long-term partners, and we love working together,” Frost said of the company. “They are really skilled; everything is in impeccable condition, and I love their team. They work so hard, and we go everywhere with them – they are a quality partner.” According to Lauth, his biggest challenge was managing expectations on all sides. “It’s a balancing act between suppliers, artists and venue – trying to find solutions that all parties are happy with,” he commented. However, he was pleased to report that thanks to the support of The Fridge, the project was a resounding success. “Working with Shelley and The Fridge is always a pleasure,” he asserted. “They are lovely people, very straightforward, open to discussions and understanding of what can and can’t be done and the reasons for it.” For Frost meanwhile, the event was a success on many levels. “To see our support act Jerome Deligero, who played his first ever show at The Fridge Warehouse, on stage in Coca-Cola Arena was a very exciting moment for us. The amazing performance from Ben&Ben and the incredible crowd engagement and love that was shown from the fans on the night was something truly special to witness. The whole show was a triumph,” she reflected. “Hopefully this is the first of many arena shows for The Fridge.” Photos: The Fridge www.benandbenmusic.com www.thefridge.me www.mediaproav.com www.clairglobal.com

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Middle East

IN PROFILE

HIVE Offering an innovative media server control solution that takes its inspiration from nature, HIVE is already making an impression on high-profile projects all over the world. TPiMEA checks in with Co-founder and Managing Director Mark Calvert to discuss the company’s prospects for the Middle East and beyond…

Coming to market in March 2022 and founded by Dave Green, Trey Harrison, and Mark Calvert – long-term collaborators in the field of high-performance video control and performance – HIVE was launched to meet a need for affordable and versatile media server control solutions that take their inspiration from the deep-rooted ecosystems and intelligent networks of interconnectivity that exist in the environment. “We are inspired by nature,” Calvert told TPiMEA. “This principle exists in the foundation of HIVE – the ability for a video system to exist on a scalable network. Our technology is light, flexible, scalable, better for the environment, and doesn’t cost the earth. HIVE is a natural evolution in the industry we so love. We are innovators Middle East

excited by providing bright, high-resolution, silky smooth, real-world experiences.” With backgrounds in concert touring, Olympics ceremonies, theme parks, museums and the arts, the HIVE team have always strived to create awe-inspiring experiences for the viewer. “Having the fortune to have worked alongside some of the greatest creatives in each sector, we spotted a great gap in the market,” Calvert explained. “While some of the server market was focused on high-end systems with equally eye-watering price tags, and others on low-end systems with very low functionality, we realised very few were focused on the central 80% of the market.” HIVE has four key verticals: location-based experiences [LBX], theme parks, architecture,

and entertainment. The company boasts an extensive list of case studies across all these verticals all over the world, including the BBC Earth Experience in Melbourne and Frameless in London, National Museum of Qatar (NMoQ), the UAE and Qatar Pavilions at Expo 2020 Dubai, digital artist-based experiences such as Quayola, the Japan Olympics and Baku European Games Ceremonies, and touring work with the likes of Eric Prydz HOLO and BICEP Live. One area that has developed hugely in recent years is location-based experiences – a fact that the HIVE team were reminded of while working with celebrated architect Jean Novelle and the Doha Film Institute (DFI) at the NMoQ. “The development of these experiences is often driven very enthusiastically by the Middle

Eastern market, and their inspiring enthusiasm to put the region on the global map for original experiences,” Calvert explained. “It was during our six-year contract at NMoQ prior to the grand public opening and the equally grand vision of Jean Novelle, NMoQ, DFI and the wonderful film directors that co-created the Art Film commission that we saw a brand-new approach to location-based experiences in museums, with vast permanent digital video galleries to accompany the narrative of Qatar’s growth and rich success,” he recalled. “This commission at NMoQ was the first time HIVE was deployed onsite and the rest, as they say, is history.” The co-founder dubbed NMoQ as “without doubt” the company’s “most notable commission to date”, adding that there are a

total of 172 custom-designed servers sitewide as well as an ongoing operation and maintenance contract. “We were so fortunate to have collaborated with some fantastic individuals and companies on this project, all of whom we have built long-lasting friendships and partnerships with,” he said. One of these individuals that the HIVE team will never forget is Consultant Dean Winkler. “The technical quality of HIVE’s work is beyond reproach,” Winkler commented. “However, what really separates Mark, Dave, Trey, and the HIVE team from everyone else is their ‘can do’ attitude to solving problems, which in this case was more like ‘whatever it takes, we’ll solve it’. They provided by far the best solution both in image quality and creative support for the project.”

Another company that worked with HIVE on an integrated film design solution on the project was New York-based Nice Shoes Creative Studio. “HIVE offers professionalism, attention to detail and a desire to collaborate with others to build unique, top-quality pieces,” reported the company’s CIO, Robert Keske. “They are one of the cornerstones of this NMoQ project, delivering the highest levels of solution quality.” The NMoQ project was also a landmark for Panasonic, with the installation representing the manufacturer’s largest single rollout of its PTRQ13 4K+ projector globally. Gareth Day, Group Manager at Panasonic Visual Systems (UK), stated: “The success of the HIVE and Panasonic equipment has been the ability to reproduce images of outstanding quality from the shortest 59

Middle East

IN PROFILE

viewing distances, and with the flexibility to position the projectors as unobtrusively as possible. At every stage, HIVE endeavoured to push the boundaries of the installation, making this an incredibly exciting project in which to be involved. Panasonic has been delighted to be involved in a project of this scale.” ‘Low power, low weight, high performance’ NMoQ is far from HIVE’s only foray into the Middle East, with the company entrusted with delivering its technology to both the UAE and Qatar Pavilions at Expo 2020 Dubai. “The UAE Pavilion architecture felt like a cathedral with its grand gesture of height, natural lights, and finesse. In its very centre is the Pearl, a seated digital immersive experience designed by Tellart and commissioned to HIVE by EMPTY in Madrid, Spain, who we worked closely with on the NMoQ project,” Calvert described. “Then there was the incredibly fast commissioned work of the Qatar Pavilion, for which HIVE had only six weeks from our first contact with Stephen Harvey and LM Middle East

Productions to the opening date,” he added. “Both these Pavilions featured HIVE at the very core of the video systems, and each had huge high-resolution video displays depicting the nations’ stories and proudest achievements to a global audience.” Having worked in Dubai, Doha and Riyadh for quite some time, the HIVE team sees the Middle East as a region that is perfectly aligned with its core beliefs and ethos to build ambitious experiences while respecting the planet’s resources. “The region has enormous growth opportunities for experiential commissions, and it is HIVE’s intention to sit at the very heart of these projects, making sure the leaders of nations can meet their incredible ideas with deployable technology that respects the cornerstones of the manifesto,” he commented. Calvert pinpointed “low power, low weight, high performance and remotely supportable” as qualities that “sit at the heart” of HIVE. “Our technology helps reduce a range of materials from site commissions such as complex signal distributions, removing the need for huge power

consumption,” he stated. “We deliver low-weight technology for freight and deployable savings, and an aspect that I am particularly proud of is how easy-to-use our systems are – they can be operated by eagerly keen-to-learn local communities in the region. We are keen to see the wonderful MEA region embrace video technology, and equally be able to easily use it, support it and deploy it, and for HIVE to make and distribute our products cheaply enough so everyone can explore the opportunities of storytelling and displays in projects.” The company is set to reveal its full product ecosystem at ISE in Barcelona. “This is a huge moment for HIVE, and we have worked tirelessly to bring this range to market,” Calvert said, adding that the company will have three products on display at the trade show. “Each product is inherently linked to the other. We are marketing these as revolutionary to the industry and we believe we are the world’s first to market.” On display will be the BeeBlade, BeeBox and BeeHive. “The BeeBlade is Intel-based SDM architecture and can be slotted into

Facing page: Technical Director / co-founder, Dave Green; Head of Production, James Belfield; Commissioning Engineer, Selvin Copper; Head of Support, Kane Sargent; Sales Director, Nigel Sadler; Managing Director / co-founder, Mark Calvert. Left: The BeeHive, launching at ISE.

SDM-compatible display technology such as projectors and monitors,” Calvert explained. “SDM paves the way for the future, and we are very excited to be collaborating with Intel on this new era. This approach removes the need for expensive and cumbersome sitewide cable infrastructures, as the product lives inside the display technology.” The BeeBox meanwhile is HIVE’s custommade enclosure for when the client does not have compatible SDM display technology. “The BeeBox can be deployed directly next to the screen, and with a short HDMI lead power your displays,” Calvert stated, going on to explain the company’s headline ISE launch, the BeeHive. “This 5U rack-mountable engine has the modular capacity for up to 16 BeeBlade cards, giving the system the power of x16 4k / 60 outputs. “This is to our knowledge the most compact yet powerful media engine on Earth, and we are proud to be launching the price point at ISE to align with our values of affordable yet always reliable.”

Describing the Middle East as home to “the most exciting opportunities”, Calvert discussed the biggest challenges of operating in the region. “Our biggest challenge is knowing where to focus first and with whom,” he commented. “HIVE is a relatively new company, and while presently based in the UK, we are working hard to expand our international sales and support reach so we can cater for this market and other key areas such as Asia and North America.” He added: “Our newly appointed Sales Director Nigel Sadler and I have set out a great strategy for 2024, where we will move forward with great pace and enthusiasm into these regions. We have already secured our Asian Reseller at Ark Ventures, and soon we will lock down and announce the same for the Middle East and North America regions. This will give HIVE customers, designers, rental houses, and government institutions direct access to our product, with local knowledge bases, and local sales and support departments within arm’s

reach.” Looking to the future, the co-founder is excited for what is it to come. “Our future has never looked so bright, with HIVE sales going a lot better than we had ever dreamt, proving our products are being welcomed by the industry. Our wonderful HIVE team is inspiring us daily to embark on the varied opportunities ahead and our partners giving us the freedom to follow our hearts and expertise,” he beamed. “We are absolutely buzzing – excuse the pun – about the future at HIVE.” He continued: “With any tech-start-up it’s as much about growth as it is about grounding, so in 2024 we will focus our attention on the four main verticals for HIVE that we already know we are best suited to, we will bring in a series of new experienced staff, open new sales channels in regions such as MEA and North America, and we will continue to try and help as many people as possible bring their original ideas to life.” Photos: HIVE www.hive.run 61

Middle East

NEW BEAST IN THE TOWN. customers in the broader Middle East region. With nearly three decades of laser expertise, KVANT has evolved from a small Slovakiabased business specializing in laser teaching aids to a multinational entity. The company not only sells and rents its award-winning laser products but also engages in custom solutions and multimedia show production. Having completed notable projects in the Middle East, KVANT recently established a Dubai office led by Managing Director Peter Prokopčák. In pursuit of expanding its regional presence, KVANT Events – Middle East was established to be closer to clients and offer comprehensive services, including sales, maintenance, rental, and show production. The selection of Dubai as the new branch's location was driven by its well-established market, clear business environment, and robust transport links with the rest of the world. KVANT has been a trailblazer in the laser entertainment industry, delivering exceptional experiences to clients across 60 countries. Our portfolio extends beyond laser shows to include award-winning production services like multimedia shows, kinetic light shows, 3D video and laser mapping, video projections, holographic projections, LED screen projections, water screen projections, and more.

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IN PROFILE

KVANT Events Middle East KVANT Events – Middle East’s Managing Director, Peter Prokopčák discusses the company’s new Dubai office and shares his ambitions for the future.

Middle East

IN PROFILE

In almost 30 years of making lasers, KVANT has gone from a small business selling laser teaching aids in its native Slovakia to a multinational and multifaceted group that not only offers its award-winning products for sale and rental but also develops custom solutions and even takes on multimedia show production. With several impressive Middle East projects already under its belt, the company recently took the step of launching a Dubai office, headed up by Managing Director, Peter Prokopčák. With the company keen to expand its presence in the region, KVANT Events – Middle East was born. “With interest in the region building, we needed to be closer to clients to support them better,” Prokopčák told TPiMEA. “We’re here to offer a full service – sales, maintenance, rental, show production, anything the client needs.” One of Prokopčák’s first tasks was selecting the right destination for the new branch. “I considered Qatar and Saudi Arabia, but taking into account all the factors that contribute to a successful business, Dubai was the clear favourite,” he commented, explaining the decision to launch the new branch in the UAE. “Dubai is a well-established market with clear business and transport links with the rest of the world, which make it ideal for us.” Since opening the new branch earlier this year, Prokopčák’s initial brief has been educating the market on the company’s offerings and capabilities. “Our first challenge was to let people know who we are and what we do,” he explained. Middle East

“I had to introduce the lasers, the company, and let people know what we could do.” While KVANT lasers are used on shows for some of the world’s biggest artists and the company boasts a unique collaborative relationship with laser software company Pangolin, Prokopčák was quick to note that the technology is only part of the package that the company’s clients are buying into. “The skills, knowledge, and professionalism of our team are massive benefits to having us work on a project,” he stated. “When people see our standard of work, they know that we are going to do things the right way.” ‘A laser show is a different ballgame’ Safety is, of course, always the top priority on any production, and according to Prokopčák, working with lasers brings a significant step up in terms of safety considerations. “A laser show is a completely different ballgame to just lights,” he noted. “People shouldn’t fear lasers, but safety is paramount, and you must guarantee that shows are done properly. We provide not only the best kit, but also the crew who know how to operate it safely – all in one package.” The MD was keen to discuss what he labelled as “a lot of poor-quality lasers” that are currently on the market in the region. “If people pay rockbottom prices, they can expect to receive a poor-quality product with service to match,” he stated plainly. “We are not cheap, but if you want to produce a high-level show, you must go with quality equipment and experienced operators. Not everybody understands that yet, but we

have had excellent feedback so far, and the more that happens, the more people are seeing that it’s worth spending a little bit extra to achieve a whole lot more.” The Middle East’s fixed installation market is an area that Prokopčák believes has significant potential for growth – something he is planning on tapping into. “Permanent installations are increasingly looking for stunning effects that increase footfall, and KVANT lasers work brilliantly for this purpose,” he commented. “We’re open to collaborating on the permanent installation side of the business; they require a very different way of thinking, so good local knowledge will be invaluable.” Prokopčák described the competitive landscape of the Middle East as “full of opportunities but also full of competitors”. He added: “To succeed in this market, you must show something different to the competition. Our reputation is built upon professionalism, quality, and safety, and our clients value those qualities.” Speculating on the future, Prokopčák revealed his aims for the business in the region. “The main goal is to bring KVANT lasers to the biggest buildings and the most important events in the Middle East,” he stated boldly. “KVANT is already used on some of the biggest shows around the world, and the USA currently makes up more than 60% of our business. My goal is to make the Middle East catch up, and with the huge opportunities there are in the region, that is a very realistic goal.” Photos: KVANT www.kvantshowproduction.com

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IN PROFILE

7Hertz With a focus on providing value and building long-term relationships with its customers, 7Hertz is much more than a pro audio distributor. TPiMEA pays a visit to the company’s Dubai HQ to find out more…

A pro audio distribution company that represents some of the world’s biggest brands in the Middle East, including d&b audiotechnik, DiGiCo and DPA Microphones, 7Hertz is going from strength to strength. In the past year alone, the company achieved the largest growth of sales of DPA products in the EMEA region, took on the distribution of French network switch manufacturer Agora, and it will soon welcome some further additions to its portfolio of high-end audio products. However, according to CEO Chadi Masri, distribution is Middle East

only the tip of the iceberg when it comes to what the company offers its clients. “Our job isn’t to simply sell equipment, it is to serve customers,” he said. “We know that we have succeeded if we can send our customer into a trance state. This is our aim, and everything we sell becomes a tool to achieve it.” Welcoming TPiMEA to 7Hertz’s Dubai facility at Silicon Oasis, Masri wound back the clocks on the history of the company, which started in Lebanon as lighting company Lightbox before taking on both home and pro audio and

expanding to Dubai. “My business partner, Joe Khadra was more into the home audio side of the business while my background is in Pro Audio,” he explained. “Joe returned to Lebanon around 2008 and grew the Home Audio side of the business, while I stayed in Dubai and grew the Pro Audio side here.” After around a decade of organic growth, Lightbox had become so large that the company decided it would make sense to rename the business to be more relevant to the audio industry. The new moniker, 7Hertz, was

conceived as a result of a conversation between Masri, John Parkhouse (former eclipse Head of Audio and now Senior Live Audio Consultant at 7Hertz), and Wissam Shaheen (now CT Middle East’s Head of Audio). “We were talking about the company and Wissam came up with the name 7Hertz. The more I researched it, the more sense it made,” Masri recalled. “Scientific studies show that the human brain reaches its ultimate potential for health and wellness when it resonates with the Earth’s frequency – around 7hertz, which is also associated with people in a meditative, creative, or trance state.” One of the keystone brands in the 7Hertz range is d&b audiotechnik – a manufacturer that Masri has a long relationship with. “As an engineer, there is a lot of physics in what I do, and d&b has always been focused on physics and how things work – and that is where our relationship clicked,” he stated. The d&b distribution deal signalled a change in direction for the company. “We were still a systems integration company back then, but we quickly realised that we needed to move into distribution,” Masri recalled. “We realised that we could add a lot of value for many systems integration companies by moving away from being a player in that industry and making the technology available for wider markets. While taking on the d&b audiotechnik distribution was a big deal for 7Hertz, success wasn’t instant. In fact, Masri recalled a watershed

moment that proved to be key in establishing the popularity of the brand in the region. “It took time to make the wheel turn, but the moment we made a major sale to eclipse [now Encore] is when it really kicked off. That was so pivotal, I often refer to the time before eclipse, BE, and the time after eclipse, AE,” he explained. “Once other companies in the region saw what the kit could do, there was suddenly a shift in d&b’s positioning in the market, with demand far outstripping supply.” Funnily enough, the man signing on the dotted line for that deal was none other than John Parkhouse. With his career now coming full circle to see him employed by the company he bought from all those years ago, Parkhouse looked back on the investment fondly. “It made a huge difference for the brand in the region, but it was also the opportunity of a lifetime for me,” he reflected. “There were risks in the process because d&b wasn’t that prevalent in the region, but it’s safe to say that it worked very well for everyone.” ‘We come to work to have fun’ What is abundantly clear as we chat to Masri and the 7Hertz team while being shown around the company’s Dubai HQ is that 7Hertz aims to be much more than simply a distributor of highend pro audio products. “Our approach is to be more consultants rather than salespeople,” Masri commented. “Instead of trying to manipulate people into buying from us, we try to serve our

Facing page: the 7Hertz team on the stand at SLS Expo. 69

Middle East

IN PROFILE

customers, and we have found that the more we spend time working with our customers to help them achieve their desired results, the easier the sales process has become.” This approach has produced healthy organic growth for the company and fostered numerous long-term relationships. “Our customers are becoming more and more our friends,” Masri smiled. “This is something that we cherish in this company. It is not only the way we deal with customers – it’s also the way we deal with each other as a team. We come to work to have fun. We can only succeed all together.” Until this point, 7Hertz has placed very little emphasis on marketing. “We’ve just been concentrating on doing our job properly, but we now feel that more people need to know more about us,” Masri explained. “This isn’t coming from a perspective of ‘we want to do more sales’; it’s more like ‘we’re growing, and there is a potential that we can serve more clients.” Middle East

Masri is keen to note that this growth must not come at the expense of the company’s ethos. “Whatever we’re doing, we ensure that we’re keeping this mentality because this is what we’re happy doing,” he said. “Physics enables us to serve our customer. The moment we truly serve our customer, we can become their friend – then the relationship is built on growing trust that we are all in it for the right reasons.” The company now has a large facility, which serves not only as an immersive space and a place for customers to experience all the latest products on offer but also as a training and knowledge transfer space as well as a warehousing area for servicing and stock. “I looked at the numbers and realised that if we combine everything under one roof, we can also service a growing demand for training and demos. It was worth it,” Masri explained. Training is something that has become an increasingly important part of 7Hertz’s offering,

and the company’s facility is equipped with d&b Soundscape and KV2 Audio systems as well as a range of DiGiCo consoles. “Training has the heaviest weight and is the most important activity that we can do in the market,” Masri commented. “There is an old Arabic proverb that translates as ‘he who taught me a letter, I became in awe of him’. I never understood it before, but then I realised that all the training I’ve done in my life enabled me to get to know what works and what doesn’t work. I discovered that when people are very honest about what they are delivering, it made sense and I became loyal to them. “I’ve participated in so many manufacturer trainings and the best ones never feel like they are training me because they want me to use their products,” he added. “They honestly offered the training because they believe that if I am trained, it’s going to be easier to use any similar products properly. I never felt an agenda behind

the training, yet my loyalty to d&b, for example, is very high because they invested in me. When we offer training, it’s investing in people around us.” Looking to the future, Masri is well aware of the shifting sands of the industry, and he believes that notable changes are inevitable. “In the past few years, we’ve seen that the distribution/ trading model the way it is now is not going to last,” he stated. “Everybody has access to information and manufacturers from anywhere in the world so easily. So, the trading model is not sustainable anymore. “As long as we can still generate value for our customers, we still exist. The challenge is to continue to innovate, and we do that through being friends, consultants, and supporters,” Masri added. “We are not driven by financial numbers – of course, we understand that they are needed, but we are people who have grown in the rock ’n’ roll industry and it means a lot to us to enjoy what we do.” Photos: 7Hertz www.the7hz.net

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Middle East

INTERVIEW

Protec: A legacy with new beginnings Protec General Manager, Matt Allen, sits down with TPiMEA to discuss the latest developments at the company, including a revamped management structure and a new and improved scenic department.

Operating in the Middle East since 1999, Protec has undoubtedly played an integral part in the rapid development of the region’s live events scene, becoming a mainstay of the industry over the past 20-plus years. While the death of the company’s pioneering founder, Stephen Lakin – an industry titan and one of the earliest backers of TPiMEA – left a gaping void in the community, when it came to the continued day-to-day running of Protec, Lakin left the company in extremely capable hands. “Steve gave me carte blanche to do things how I saw fit and bring in the people who I knew and trusted,” explained Protec General Manager, Matt Allen. “He wanted to make sure that we had all the tools and the opportunity to carry this on and honour his legacy.” With more than a decade of experience in the Middle East and approaching two years in his current position, Allen has the rare opportunity of shaping one of the region’s longest-standing independent technical production houses – and it’s an opportunity he has grabbed with both hands. Middle East

“We’ve had a major refresh, overhauling the rental system and bringing in a new operations team – and everybody is taking ownership over everything we do,” he told TPiMEA. “Everyone has embraced the change, and we’ve got a good energy and a great group of people from all over the world working together to make things happen.” One of the biggest changes the GM has instigated is the expansion of Protec’s fabrication department. “It’s something that Protec has always offered, but I don’t think it’s been pushed as much in the past,” Allen said. “There aren’t many companies out there that can do what we do in terms of fabrication, and we need to make more noise about that.” Key to the growth of the fabrication side of the business is Production Director, Jurgens Potgieter, who worked with Allen in his previous company and joined Protec with a similar brief. “It’s a two-channel approach; we want to develop two high-level companies in one,” Allen explained. “Our aim is to take the fabrication department from a secondary offering to a major draw.” The GM reiterated his belief in the importance of having trust in his team. “Just as I was given the freedom to bring in my own people and do things my way, we afford all the HODs that same freedom,” he commented. “It’s so helpful if you have a solid core of people who you’ve worked with and trust. Not only do we have that, but we’ve also been lucky with others coming in who have slotted into the company seamlessly.” Protec’s DIP headquarters has always been one of the more impressive facilities in Dubai, and lots of work has been going on behind the scenes to ensure that the revamped fabrication department lives up to the company’s high standards. “The facilities are second to none,” Allen stated. “We have the capability to create everything from custom staging and experiential environments, to largescale opening ceremonies and exhibition stands – pretty much anything you would ever want.” This increased capacity and the ability to produce more refined items has allowed the company to explore new markets, with the luxury corporate sector one that has proved particularly fruitful. “The luxury stuff requires a far greater level of detail and refinement that only a few

Middle East

INTERVIEW

specialised companies can cater to,” Allen explained. “There’s a huge opportunity in that market that we’re keen to capitalise on.” That’s not to say that Protec has taken its eye off the ball when it comes to other sectors. “Our scope of work is incredibly diverse,” Allen revealed. “From large-scale shows and festivals such Defected, Elrow XXL and Tomorrowland, to luxury events for Cartier and Chanel, and set building for Dubai Opera’s production of Macbeth, each type of project requires its own way of thinking and operating, and we have the specialists to deal with every facet of the business.” Protec’s HQ also boasts a fully equipped previsualisation suite, which brings a greater level of certainty to clients. “We can invite people in and show them exactly how things are going to look,” Allen said, noting his preference for being brought onto projects as early as possible. “Getting us involved in the concept stage means that the client can maximise what we bring, and that is going to pay off in the long term,” he added. “However, if there’s a situation where something is needed urgently, we also have the flexibility and agility to deliver that.” Allen was keen to dispel what he says is a long-held misnomer about Protec. “The old perception was that Protec wouldn’t take on smaller jobs, but that’s not the case at all,” he stated. “While we like to get involved in the larger projects, we’re just as interested in repeating smaller jobs, and we approach each project with the same vigour. We’re extremely detail focused in everything we do, and we take a lot of care throughout the process, making sure all the touchpoints are slick.” Saudi Arabia continues to be a market that attracts significant interest from Dubai-based companies, and Protec is no exception. “You can see the projects that are coming out of the country and it’s clear that Saudi Middle East

is a market that is here to stay,” Allen stated, noting the company’s long history of work in the Kingdom. “Protec was launched off the back of the Faisaliah Tower project back in 1999, so we have a long history of working in the Kingdom over many years. We had great success with the World Defence Show last year and with our Super Dome in situ in Saudi, we’re ideally suited to working in the Kingdom.” With sustainability an increasingly hot topic in the UAE, Protec has introduced several policies and procedures to ensure that the company is doing its bit. “We reuse materials wherever possible, which makes sense both financially and environmentally. We can build projects at scale here in the warehouse and test before we go. That means we bring fewer materials to site, require fewer truck runs and only use what we need,” Allen highlighted. Looking to the future, Allen is focused on growing the company organically. “When the quality of work is there, you get recommendations and further work comes from it. Keeping and advancing those relationships and maintaining standards is crucial,” he explained. “Our end clients are our focus. We are a homegrown Middle East company that is focused on supporting our clients here in the Middle East from the smallest event they have right up to the largest.” As we wrapped up the interview, Protec’s GM reflected on the legacy left for him by the company’s founder. “Steve was a legend of the industry; Protec was his life’s work and passion, and we need to continue what he started,” he concluded. “I feel privileged to have been given the trust and the freedom to continue Steve’s legacy. The opportunity to throw myself into a company like this was a massive one. We won’t reach our goals overnight, but we’re moving in the right direction and we’re on the right track. Photos: Protec www.protecevents.com

FEEDBACK

FLOW lands on the green at DPWTC As FLOW supports the DP World Tour Championship’s drive for sustainability with its Solar+Hydrogen hybrid power solution, General Manager Jonathan Calvert explains how the technology could have a transformative effect on the green credentials of events in the region. Alicia Pollitt reports…

After renting two of FLOW’s hydrogen-powered generators for its 2022 edition, the DP World Tour Championship (DPWTC) increased its use of clean energy for this year’s tournament with the introduction of a solar and hydrogen hybrid solution. “With an in-house Energy Management Panel, which enables seamless control of both hydrogen and solar power, our Solar+Hydrogen hybrid is a giant leap towards advancing temporary power and cooling services for events,” began Jonathan Calvert, FLOW GM. Providing HVAC and temporary power solutions to the Middle East and global events markets, FLOW has delivered on a range of high-profile events including the 2022 FIFA World Cup Qatar, The Saudi Cup 2022, and the Asian Games in Indonesia – and the company is now focusing on integrating sustainable solutions for its clients. “Solar+Hydrogen technology represents a cuttingedge approach to sustainable power solutions for events,” Calvert stated, going on to explain the process behind the technology. “Solar technology harnesses energy from the sun through photovoltaic panels, converting sunlight into electricity. This clean energy is then intelligently integrated with hydrogen power. Hydrogen, stored in fuel cells, serves as a reliable back-up, and provides continuous power when Middle East

solar generation is insufficient, ensuring uninterrupted service. Our in-house team developed Energy Management Panel optimally balances the utilisation of solar and hydrogen power, allowing for a seamless and efficient integration that maximises sustainability and reliability in event power solutions.” While the high initial costs of hydrogen fuel pose a financial hurdle to its widespread adoption, Calvert predicts that costs will decrease as more suppliers enter the market. “The limited supply and infrastructure for hydrogen, coupled with ongoing development needs in cylinder technology, present logistical challenges. However, the current high price of hydrogen is expected to normalise as demand increases,” he hypothesised. “Overcoming these challenges is crucial for expanding the reach of our advanced power solutions to more events in the future.” As everyone starts to become more climate-conscious, FLOW and Calvert have seen a shift in public opinion towards sustainability and an increased demand for alternative power solutions. “This is especially happening on large projects where clients are increasingly conscious of adopting green solutions,” Calvert commented. “While clients recognise the limitations of achieving full sustainability, there’s a clear trend towards favouring hydrogen, solar, and battery solutions. The key is understanding the unique project requirements to strategically choose the most effective and eco-friendly solution for each scenario.” With the Middle East market increasingly adopting more sustainable events solutions, Calvert is heartened by the fact that many clients are prioritising eco-friendly options, even if they come with a higher price tag. “This shift reflects a growing awareness of environmental responsibility and a commitment to incorporating sustainable practices into event planning which should pose a positive trend across the region,” he noted. Looking to the future, FLOW intends to further develop sustainable technologies, with a focus on solar, hydrogen, battery, and biofuel, ensuring diverse research into varied eco-friendly options. “Our vision extends to producing events where all these technologies work together seamlessly, creating fully integrated and sustainable experiences. Ultimately, we aim for the pinnacle – achieving 100% green events that showcase the harmonious synergy of various green solutions, setting a new standard for environmentally conscious event services.” Photo: FLOW www.flowsolutions.me

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FEEDBACK

AED in the UAE As AED Group expands to the Middle East with a new Dubai office and warehouse, TPiMEA learns more about the dry hire specialist’s plans for the region.

AED Group has announced the opening of its new offices and warehouse in Dubai, marking a significant milestone in its commitment to serving the Middle Eastern market. Located in Dubai Investment Park, the new facility carries an extensive stock of pro AV equipment available on a dry hire basis. “AED selected Dubai Investment Park (DIP2) for its central location in Dubai, due to its easy accessibility and proximity to numerous AV production companies,” stated International PR & Communications Manager, Filip Van Vlem. “We sought a brand-new warehouse and office space that we could tailor to our needs and organise according to AED’s specific warehouse workflow.” Identifying the Middle East’s tendency towards highvolume and often last-minute equipment demands, Van Vlem highlighted the opportunity the region presents for AED to showcase its own pro AV brands. “We hold high volumes of AED Audio products, Luxibel’s flexible entertainment lighting, NEXT Truss (including circles), and NEXT StageLIFT chain hoists and controllers in our local stock,” he explained. The warehouse also features a Middle East

wide range of products from AED Rent’s portfolio, such as L-Acoustics, Claypaky, DiGiCo, Shure, Pioneer, ChamSys, MDG, Robert Juliat, Arri, and Luminex. “We’ve seen a significant demand for L-Acoustics audio equipment, of which AED is the world’s largest owner,” he noted. “Particularly during the European winter period, this equipment is highly sought after in the Middle East, prompting us to continually adapt our local stock to meet local needs and demands.” With a leadership team including Operational Director Poyraz Gugus and Admin & Finance Manager Toni Alcazar, the Dubai office is staffed with an experienced local team well-versed in the demands of the region. This local knowledge combines with support and direct communication with AED’s Belgian headquarters. “This ensures prompt responses to customer enquiries and the ability to assist with efficient shipments by boat or air from the headquarters to the region when required,” Van Vlem asserted. “With AED handling over 60,000 rentals annually, our well-coordinated logistics network plays a crucial role in supporting the growth of our customers’ businesses.”

One important point to note is that AED prides itself on being a partner for AV professionals rather than a competitor. “By not targeting end users and focusing on professional AV customers and production and installation companies only, we ensure that we don’t compete with our clients’ businesses,” Van Vlem explained. “Our neutral market position, coupled with top-quality equipment and transparent pricing, positions AED as a partner instead of a competitor for these companies.” This expansion is part of a long-term strategy to serve a region that the company has identified as having a high growth potential. “Given Dubai’s maturity as a market, we are observing promising dynamics in other regional countries as well – particularly in Saudi Arabia, where there’s a strong push for high-end entertainment projects. The entertainment sector in the region is expected to see significant growth in the coming years. AED is monitoring these developments and will explore all opportunities to support our customers wherever needed,” Van Vlem said. “We’re thrilled to have established our presence in the region and warmly invite our customers to visit and meet our local team for a personal conversation over coffee and a comprehensive tour of the facilities,” he concluded. “This expansion not only signifies AED Group’s dedication to the Middle Eastern market but also reinforces its position as a global player in the pro AV industry.” Photos: AED Group www.aedgroup.com

Middle East

GEAR HEADS

Cameo PIXBAR G2 Anastasiia Trubnikova, Senior Global Brand Marketing Manager, Cameo, explains how the company’s latest-generation PIXBAR is set to change the way LED bars are connected.

How has the PIXBAR been improved for its second generation? The PIXBAR 400 IP GENERATION 2 is designed to revolutionise the way you connect your LED bars by offering a range of smart features to redefine your lighting experience. Whether hanging on the truss, standing on the base plate, or placed horizontally, the effortless magnetic connection system allows for a variety of creative designs and placement options, creating unique lighting effects and set designs. With IP65 certification, it can be used anywhere – indoor or outdoor. PIXBAR G2 400 IP is all about offering users a full range of easy placement possibilities for creative expression. What commercial benefit could the PIXBAR G2 bring? The PIXBAR G2 series presents a compelling commercial advantage due to its placement versatility and effortless setup. With multiple mounting options and innovative feet, the product caters to various installation requirements, making it appealing for a wide range of applications, be it indoors or outdoors, events, concerts, or festivals, creating an ambient atmosphere or lighting up the building. Additionally, the product’s customisable lighting effects, synchronised capabilities, and Middle East

efficient control options give lighting designers a competitive edge in creating captivating and unique lighting displays for clients and audiences alike. The versatility and adaptability of the PIXBAR G2 series result in a higher return on investment for businesses. Its ability to cater to diverse events and installations means that organisations can utilise the product for a wide range of projects, minimising the need to invest in multiple specialised lighting fixtures. This cost-effectiveness makes it an appealing long-term investment for rental companies, event planners, and production houses alike. What are some of the main features that will benefit end clients? Simple and efficient connection of up to three units due to powerful magnetic plates; ensured safety and reliability with Stack-Kit mechanism; innovative feet allowing easy adjusting on the truss; easy slide-in filter with locking mechanism; fanless cooling design ensuring silent operation; and its SPIN 16 patented mechanism (16 mm TV-spigot with flip mechanism). How does the product make it easier to connect LED bars? Up to three units can be connected hanging

on the truss with the optional Verti-Mount and Stack-Kit for a seamless and synchronised lighting effect. With the M20 Adapter, the new PIXBAR-Series can be mounted on M20 threaded base plates, where two units can be connected. Truss mounting is also made easier thanks to the adjustable feet. All filters can be inserted quickly and easily using the slide-in mechanism of the filter rail. Can you tell me about some of the product’s safety features? All connecting accessories feature double safety due to a ball lock pin and metal frame that ensures that the fixtures are perfectly aligned, and all forces are evenly distributed across the whole housing. This is of major importance to keep the integrity of the housing and provide watertight sealing. Like all Cameo products, PIXBAR G2 is tested in the Adam Hall laboratories for electrical, optical, and mechanical safety. Where can the PIXBAR G2 be purchased in the Middle East? Our strongest partner, but not exclusive distributor, is Oasis Enterprises L.L.C based in Dubai, close to Dubai International Airport. Photo: Cameo www.cameolight.com/pixbar-g2

WICKED QWAD Managing Partner Alistair McDonald discusses WICKED’s latest solution that blurs the boundary between temporary and permanent event infrastructure.

What is QWAD, and what industry need does it address? Built on a versatile 5m by 5m or 5m by 7.5m grid, QWAD disrupts the traditional boundary between temporary and permanent infrastructure. With the capability to reach G+3 heights, it offers a novel solution for rapid installation, aligning with permanent construction design codes. QWAD is not just a temporary structure; it’s a gamechanger, bridging the gap with the reliability of permanent builds while maintaining the flexibility and speed of temporary installations. How was QWAD developed? Developed by WICKED, the innovation stemmed from a proactive exploration to overcome the limitations of traditional temporary infrastructure, specifically addressing issues related to the ease of construction, number of levels and overall complexity. The R&D phase involved rigorous testing and refinement, ensuring that QWAD not only met but exceeded industry standards. The result is a truly ground-breaking product that not only fills a crucial gap in the market but also exemplifies WICKED’s commitment to pushing the boundaries of temporary structures for a more adaptable and resilient future.

What are the main benefits of the system to the user? The QWAD system offers users a multitude of benefits, making it a standout choice in temporary structures. Its modularity ensures adaptability to diverse spatial needs, while a strong emphasis on sustainability aligns with eco-conscious practices. Scalability is a key feature, accommodating various sizes and configurations, with inventory scalability providing flexibility for different event sizes. QWAD not only delivers a permanent look and feel but does so without the need for additional structural ballasting, streamlining setup and enhancing efficiency for users. Tell us more about the sustainability aspect of QWAD… QWAD’s local production not only ensures improved lead time, optimised cost, and quality control but also significantly reduces the carbon footprint while supporting the localised economy. QWAD embodies sustainable solutions through energy-efficient building cladding, compatibility with solar and hydrogen power, and the incorporation of eco-friendly lighting and HVAC systems. Additionally, efficient water and waste management solutions further enhance its

environmental impact. QWAD prioritises reusability with components designed for sustainable construction practices. With a component lifecycle exceeding 20 years and high residual value, it not only promotes eco-conscious building but also contributes to a favourable cost-benefit analysis for our clients. Why is QWAD ideal for the Middle East market in particular? QWAD is exceptionally well-suited for the Middle East market for two primary reasons. First, its design ensures a look and feel of permanent architecture, aligning seamlessly with the aesthetic preferences in the region. Second, given the Middle East’s rapidly evolving events and construction sectors, QWAD offers a solution that caters to the need for both sophistication in design and rapid deployment, making it an ideal choice for dynamic and growing markets in the region. It’s already been used on a range of highprofile projects in the Middle East, including the FIFA World Cup Qatar 2022, DP World Tour Championship 2023, Dubai Watch Week 2023, LIV Golf Jeddah 2023, and COP28 Island of Hope 2023 to name just a few. Photo: WICKED www.bewicked.me 81

Middle East

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REGIONAL ROUND-UP

BeWunder and Takenaka announce partnership for Expo 2025 Osaka As the two companies join forces, BeWunder also launches its Japanese branch, reinforcing its presence in the region. Alicia Pollitt reports.

With a long history of designing and delivering more than 20 thematic and national pavilions and five consecutive World Expos, BeWunder has become something of a specialist in the field since its first project at Expo 2010 in Shanghai. Ahead of Osaka’s Expo 2025, the company has expanded its reach further by joining forces with Takenaka, a prominent player in Japan’s AV market. “Our partnership with Takenaka is a remarkable privilege and an honour for our team,” said BeWunder’s Head of Expo 2025 projects, Ioannis Petros Katsoudas. “Together, we aim to create extraordinary experiences at Expo 2025, showcasing our shared commitment to innovation as well as best-in-class service.” According to Katsoudas, Takenaka is “the ideal partner” for Expo 2025. “Following several months of discussion, it was clear that Takenaka and BeWunder share similar views, as well as the broader Symunity Group they are a part of,” he explained, adding that this collaboration grants BeWunder access to local knowledge, facilities, Middle East

and business licences as well as equipment and skilled manpower. Alongside the partnership, the company also announced the establishment of its Japanese branch, BeWunder K.K. “This primarily benefits our overseas clients by providing confidence, peace of mind and a high level of service in an unfamiliar market,” he noted. The team that was crucial to operations at Expo 2020 in Dubai and Expo 2017 in Astana will also make their way over to Japan where they will collaborate closely with Takenaka’s specialist team on all projects. “Our Japanese branch will serve as a vital conduit for onsite activities such as leasing warehouse and office spaces for the team, procuring local equipment and materials, engaging local manpower, obtaining work visas, and collaborating with subcontractors,” Katsoudas stated. Hideaki Takenaka, CEO of Takenaka and the broader Symunity Group, commented: “Our collaboration with BeWunder further reinforces our commitment and dedication to excellence in the AV industry. We are excited to support in their

pursuit of delivering exceptional experiences at Expo 2025.” Ahead of 2025, BeWunder is seeing the exhibition industry growing as creative technology evolves and introduces new technologies that offer more interactive, multimedia-centric, and possible AI-powered exhibits. “Our approach aligns perfectly with this trend as we enthusiastically embrace and advocate for the innovative and inventive utilisation of multimedia technologies to enhance the visitor experience,” Katsoudas continued. Katsoudas emphasised that BeWunder aims to be a ‘one-stop shop’ for Expo 2025 clients, confident in its ability to deliver solutions that exceed expectations. “With 20 years of experience in Expo-related works and services, our knowledge and experience are deeply ingrained in our approach. We remain committed to delivering excellence in Expo formats.” Photo: BeWunder www.bewunder.com www.symunity.co.jp/en

Procom hosts DAS Audio launch and training The distributor welcomes global and regional attendees to its Dubai facility for a showcase of DAS Audio’s ALMA software. Procom Middle East recently hosted a training event and regional launch of ALMA by DAS Audio, at its state-of-the-art facility in Dubai. Held on 22 November, the event not only focused on the capabilities of the ALMA software, which enables an ecosystem of networked management and control of systems and processors, but also showcased Procom’s strong partnership with DAS Audio. “As the hosts of this event, we are delighted to have collaborated with DAS Audio in unveiling ALMA,” expressed Rami Harfouch, Business Development Manager at Procom Middle East. “We are very excited about the extended opportunity it brings to our customers, as it enables DAS Audio to deliver an end-to-end audio solution for venues.” The event welcomed attendees from various regions, including Romania, Albania, Bosnia, Poland, Jordan, Georgia, Kazakhstan, Turkey, along with key representatives from DAS Audio. Developed in-house by DAS Audio for installations as well as touring purposes, ALMA will power the next generation of speakers and control systems, such as ARA, the next generation of line arrays. With a graphically advanced UI that allows users to manage the systems instantly and intuitively, reducing system configuration time and helping users achieve their goals quickly, effectively, and reliably. ALMA software represents a significant leap forward in line array technology. The combination of ARA’s advanced hardware features and ALMA’s powerful software tools allows for unprecedented control and customization of sound reinforcement systems. With IP

communication, users can easily monitor and adjust global EQ in real time, without using any external processors enabling them to achieve optimal performance. “This successful collaboration highlights our dedication to fostering innovation and excellence within the industry and also highlights the opportunity in the Middle East,” added Manuel

Peris, CEO of DAS Audio. “We are proud to have played a significant role in empowering our partners and clients to embrace the forefront of technological advancements showcased during this remarkable event.” Photo: Procom Middle East www.procom-me.com www.dasaudio.com/en

Middle East

REGIONAL ROUND-UP

Provision AVL becomes GLP distributor GLP appoints the Dubai-based company to be its representative throughout the Middle East.

GLP has expanded its sales network in the Middle East, appointing Dubai-based Provision AVL as its distributor for the entire region. “We are pleased to add GLP’s world-class product range to our portfolio and offer it to our customers,” stated Kevin Boujikian, General Manager of Provision AVL. “As one of the leading brands in the industry, GLP’s products are recognised by professionals for their technology and quality. We are confident that this partnership will be a great success. Our customers look forward to having access to the latest lighting solutions from GLP at all times. We look forward to working closely together and building a strong and fruitful relationship.”

Stefan Wagner, GLP sales director EMEA, added: “The Middle East is a market with enormous potential. The need for outstanding lighting solutions is great.” He continued: “Time and again, major premium events from the region cause a stir worldwide. Our partnership with Provision AVL’s well-connected team will significantly increase the presence of GLP products in this important market and contribute to the global growth of the GLP brand. We are also very much looking forward to working together!” Photo: Provision AVL www.glp.de www.provisionavl.com

Optimal Audio appoints MDC as Qatar distributor The agreement strengthens the UK manufacturer’s presence in the region.

Doha-based AV supplier MDC has been named Optimal Audio’s exclusive distributor in Qatar. Optimal Audio’s emphasis on simplifying commercial audio systems without compromising on quality struck a powerful chord with MDC’s Rajesh Kunnath. “The Optimal Audio ecosystem aligns perfectly with the market’s requirement for commercial audio solutions that, while technologically advanced, are competitively priced and easy to operate and install,” he said. “We’re delighted to have added Optimal Audio to our portfolio and are confident that it will prove hugely popular with our customers.” Middle East

Alex Barrand, EMEA Sales Manager of Optimal Audio, added: “MDC’s vastly experienced team have an eye for quality, and pride themselves on being a real value-added distributor. “The company has built a very strong customer network in Qatar based on its reputation for distributing brands that offer innovation and reliability, supported by expert training and after-sales support. We look forward to MDC establishing Optimal Audio as a leading player in Qatar.” Photos: MDC, Optimal Audio www.mdc-qa.com www.optimal-audio.co.uk

Evolution Wireless Digital

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REGIONAL ROUND-UP

Ayrton adds to South Africa distribution network Planetworld and Bespoke Entertainment Solutions join forces to promote Ayrton in South Africa. Ayrton has announced a new distribution partner for South Africa, Planetworld, which will work with the manufacturer’s current distributor, Bespoke Entertainment Solutions, to ensure Ayrton’s current and prospective customers receive the best in products, service, and support. Already a well-established company in the consumer audio market, and familiar to the entertainment industry through its distribution of leading audio brands, Planetworld recently launched its new Pro Division. The Planetworld Pro Team – formally Wild and Marr – is responsible for supplying both technical design and equipment into the pro AV systems and live entertainment markets, and already has LED manufacturer Leyard in its product portfolio. “The entire team at Planetworld and I are beyond excited to be adding Ayrton to our growing portfolio of world-class brands,” stated Planetworld CEO, Maurice van Heerden. “Ayrton’s rich history of producing class-leading lighting solutions combined with Planetworld’s distribution, marketing and sales capabilities gives us the ability to truly amplify experiences across the entertainment industry in Africa.” Bespoke Entertainment Solutions, which has an outstanding knowledge of the South African entertainment market at grass roots level, and long-standing experience of the Ayrton

product range through its technical director, Suren Lutchman, will provide support services to Planetworld in a partnership that ensures Ayrton’s opportunities are maximised across Sub-Saharan Africa. “It has been – and will continue to be – a great pleasure and an awesome experience working with the Ayrton team in establishing the brand in South Africa, especially postCOVID,” said Lutchman. “The partnership with Planetworld will be an exciting new endeavour and we look forward to working closely with the team to carry the Ayrton brand forward.”

Michael Althaus, Ayrton’s Global Sales Director, added: “To combine Suren’s surefire competence in the field and his service expertise with the incredible team and infrastructure offered by Planetworld is such an exciting prospect. Not only will the new partnership strengthen the Ayrton presence exponentially in the South African entertainment sector, but it also offers huge potential to the install vertical.” Photo: Planetworld www.planetworld.co.za www.bespokesolutions.co.za www.ayrton.eu

Barco partners with DWR The strategic alliance aims to elevate Barco’s presence in the burgeoning South Africa market. Barco has announced a new partnership with DWR Distribution, solidifying DWR’s role as an official agent for Barco’s innovative solutions in the region. “Barco is globally recognised as a leader in the AV industry, setting international standards for excellence, and we are truly appreciative of the opportunity to represent the brand in South Africa,” commented Robert Izzett, Sales Director at DWR Distribution. “The industry is seeing a demand for highresolution, video-based installations that impress Africa

audiences with exceptional visual experiences. When it comes to meeting these demands, Barco’s image processing, screen management, and show control solutions check all the right boxes,” he continued. “At the same time, DWR has a strong presence in the staging and rental market to provide exceptional support for this high-end range of products. We are absolutely thrilled to have been appointed as a strategic partner and eagerly anticipate this exciting new chapter.” Abdulghani Hejazi, META Territory and Country

Manager Immersive Experiences at Barco, added: “This strategic partnership signifies a significant step forward in expanding Barco’s footprint in South Africa’s dynamic audiovisual landscape. By combining Barco’s technology with DWR Distribution’s deep industry insights and track record, clients get access to cutting-edge solutions and services that will transform their visual experiences.” Photo: Barco www.dwrdistribution.co.za www.barco.com

Robe lights up Sentech Tower for Brixton Light Festival Tarrantula, ESPRITE, FORTE and MegaPointe fixtures are deployed to illuminate the 237m-high tower.

With a goal of celebrating the spirit and importance of community, and the power of art and empathy, community-led, art-based lighting experience, the third edition of in Johannesburg’s Brixton Light Festival was its largest to date. Sound designer and Brixton resident Fried Wilsenach from Working Dog helped implement several lighting installations this year, including one illuminating the impressive Sentech Tower, an iconic landmark that dominates the Brixton skyline and that of the surrounding Auckland Park suburb. The Tower is part of SABC’s (South African Broadcasting Corporation) broadcasting HQ which is also located there. Wilsenach approached lighting designer and long-time friend and colleague Oliver Hauser – who works across a broad base of lighting sectors – to join the team and provide ideas for the tower illuminations. Hauser utilised a selection of Robe fixtures, including two Tarrantulas, two ESPRITES, a FORTE and a MegaPointe to throw to the top of the 237m-high tower. The lights were supplied to the event by DWR Distribution as part of their sponsorship package. The fixtures were positioned on top of a garage in Wilsenach’s

garden approximately 240m away. The West side of the tower – the one facing the Brixton community – was lit up and became a signature symbol of the Light Festival. Hauser used the two pairs of lights – Tarrantulas and ESPRITES – to highlight the tower’s reinforced concrete mast section and ‘lollipop’ – a cantilevered observation deck which has been closed to the public since 1982. The Tarrantulas were used for colouring the mast, while FORTE and the two ESPRITES then provided overlaid patterning and texture. The MegaPointe was used for additional pin-spotting and colouring on the lollipop, and on the ‘sock’ as Oliver and his crew dubbed the antennae on the top of the tower. Around 24 lighting looks and cues were programmed using an MA Lighting dot2 console, swapping between different combinations of the Robe fixtures, all of which thrilled the amassed crowds who could experience the tower in a different light for the occasion. Other landmarks lit up as part of the Light Festival included Kingston Frost Park, one of Johannesburg’s oldest green spaces, the Brixton Water Tower, and other famous structures. The 2023 project was supported by the City

of Joburg Department of Transport, DWR Distribution and OHCHR (Office of the United Nations High Commissioner for Human Rights) and was made possible by the hard work of scores of volunteers. The industry-supported SOS Charity Fund – founded by DWR’s Duncan Riley during the pandemic to raise awareness of technical production and its contribution to the economy and social fabric of the nation – sponsored the wages of 12 crew who worked tirelessly to help make these major festival installations a reality. DWR contributed the Robe lighting fixtures, while Gearhouse Splitbeam, led by Managing Director Alistair Kilbee, was the primary technical supplier, providing equipment at a hugely reduced cost. “Through active citizenship and continued innovation, our community strives to create a safe and friendly neighbourhood, improving the quality of life for all who are a part of it,” Wilsenach stated. “We are fortunate to have very talented and generous individuals among ourselves with a wide network of professional contributors who believe in the importance of an initiative such as the Light Festival.” Photos: Heather Mason, Mark Straw www.robe.cz 89

Africa

ADVERTISING INDEX

TPiMEA Ad Index

December/January 2023/4

7Hertz...................................................................................................................................71 Adamson Systems Engineering...............................................................................BC ADJ....................................................................................................................................... 39 Ayrton.................................................................................................................................. 45 BeWunder................................................................................................................. 26 & 27 Cameo..................................................................................................................................47 CGS........................................................................................................................................75 CHAUVET Professional...................................................IFC & Digital Front Cover Christie Digital...................................................................................................................23 ER Productions.......................................................................................................18 & 19 EXPOLatam.Tech............................................................................................................ 67 GET Show............................................................................................................................15 GTL Sessions.................................................................................................................... 77 HIVE.......................................................................................................................................37 Imagina Productions......................................................................................................31 INFiLED................................................................................................................................... 4 Integrated Systems Europe............................................................................. 82 & 83 ISLE....................................................................................................................................... 33 KVANT Events Middle East............................................................................... 62 & 63 Laser Saga......................................................................................................................... 85 Matrix Laser.......................................................................................................................57 NMK Electronics...............................................................................................................15 NovaStar..............................................................................................................................13 Pitchblack.......................................................................................................................... 90 Riedel Communications.................................................................................................. 3 Robe.................................................................................................................... Digital DPS ROXX Light............................................................................................................................ 7 Sennheiser........................................................................................................................ 87 SLS Production................................................................................................................ 35 Solas......................................................................................................................................41 TIME ENTERTAINMENT.......................................................................................50 & 51 TPi Awards..........................................................................................................................55 TPiMEA Awards..............................................................................................................IBC Unusual Rigging................................................................................................................79 YesTech................................................................................................................................11

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