Welcome to LIVE's last issue of 2024 – and our final quarterly one too – as we transition into a bi-monthly publication for 2025! This issue digs into digital signage, and its lucrative impact on the brand and marketing sectors. From AR enhancements to powerful LED displays, we share the crucial tech behind this revolution. Elsewhere, we unpack the tech behind Adele's record-breaking Munich residency as well as exploring the audio-visual tools powering some of the world's biggest venues in our stadiums focus. This issue's round table debates the evolution of education – and the technology powering that change, whist our Buyers' Guide offers savvy tips on the best tools for your corporate workflows. Finally, AI is one of the hottest topics in practically every industry right now, so our special focus delves into its impact on ours.
BUYERS’ GUIDE Kit for slick corporate workflows
LIVEMAG.ONLINE
WINTER 2024
Click to see this issue’s cover in action!
A spotlight on the influential impact of signage in advertising – and the technology propelling its growth
STADIUMS AND ARENAS
A RECORD-BREAKING RESIDENCY FOR ADELE Behind the curtain on the chart- topping star’s summer shows
AI AND AV: SPECIAL FOCUS Are we in the golden age of automation?
The AV running the show on big gigs and major matches
EDITOR’S WELCOME
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EDITORIAL Editor Verity Butler +44 (0) 1223 492246 veritybutler@bright.uk.com Senior staff writer Katie Kasperson Features writer Oliver Webb Chief sub editor Matthew Winney Sub editors Zanna Buckland, Chris Young, Minhaj Zia Contributor David Davies ADVERTISING Sales director Sam Scott-Smith +44 (0) 1223 499457 samscott-smith@bright.uk.com +44 (0) 1223 499462 +44 (0) 7376 665779 emmastevens@bright.uk.com Sales manager Gabrielle Pitts +44 (0) 1223 492244 gabriellepitts@bright.uk.com DESIGN Ad production Holly May Senior designer Carl Golsby Magazine design manager Lucy Woolcomb Design manager Alan Gray Design director Andy Jennings PUBLISHING Managing directors Andy Brogden & Matt Pluck FOLLOW US Sales manager Emma Stevens
See more of Christopher Schardt’s work on page 50
O ur final issue of 2024 is here, and we are rounding off the year with a bang! This edition delves into the tools powering the digital signage sector – a space expected to grow to a staggering $40 billion by 2030. From dazzling digital billboards to the AR enhancements layered on them, marketers for the world’s biggest brands have more creative freedom when it comes to their messaging than ever before. Elsewhere, we sit down with the acclaimed LED artist Christopher Schardt. With whimsical works like Mariposa (shown above), his pieces demonstrate the capacity for AV to bring people from all walks of life together. Speaking of which, if super-sized structures like the Colosseum and Circus Maximus demonstrate anything, it’s that humans have always craved live entertainment. Our stadiums and arenas feature reflects on the evolution of this amazing architecture into the technological melting pots of the present day. We learn all about how the demand for a flexible set-up due to the diverse needs in these venues is crucial, as well as how to handle upgrading older grounds. We also go behind the scenes on Metallica’s world tour, revealing the sheer scale of audio required to match the roar of the heavy metal band’s anthems.
Onto an entirely different genre, but an artist of similarly legendary status, our winter issue includes the AV scoop on the delivery of Adele’s Munich residency. Her time in the Bavarian capital was quite notable – not least for finding its place in the Guinness World Records for largest temporary outdoor LED screen. Also, on page 58, we meet artist Brendan Fernandes to discuss his series celebrating 40 years of house music. He discusses his work being projected onto one of the world’s largest digital art platforms – Art on the Mart in Chicago. Plus, our round table gathers expert pros from the education technology industry, each discussing the role of AV, especially when helping those with more diverse learning needs. Finally... thank you! This is LIVE ’s last issue in our debut year and the support for this big, bright and bold magazine has been nothing short of phenomenal. This is also our last quarterly issue, as I’m delighted to share that we will return in the new year as a bimonthly publication. Bring on 2025!
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CONTENTS
LIVE.
68
06 NEWS AND UPDATES
50 INDUSTRY ICONS
We bring you the latest AV scoops, from lighting the Rolling Stones to delivering the 2024 VMAs
We meet Christopher Schardt, an artist using LEDs to create bewitching spectacles
16 ADELE IN MUNICH
64 INNOVATOR PROFILES Our regular segment interviewing the movers and shakers forming AV’s deep pool of talent 58 BUILD UP THE HOUSE Explore Chicago’s Art on the Mart – with its latest piece celebrating 40 years of house music
The technology powering the British singer’s iconic and record-breaking residency
SPONSORED CONTENT
26 DIGITAL SIGNAGE
34 CVP 57 VIZRT
LIVE probes into the profitable signage space, finding out what’s going on behind the billboards
36 ROUND TABLE
68 AI MEETS AV
This issue’s panel brings together experts of ed-tech to discuss the evolution of learning
Artificial intelligence is redefining every industry. We learn about its impact on audio-visual tech
76 BUYERS’ GUIDE
42 STADIUMS AND ARENAS Stadiums may be ancient, but modern-day examples are a melting pot of innovation
We conclude this issue with our regular gear showcase – this time honing in on conferencing tools
MEDIA PARTNERS
This issue’s cover was designed by Carl Golsby at Bright Publishing
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NEWS
CHRISTIE ILLUMINATES CURIOSITY HALL
and planning and design-build firm Roto to create a programme that would resonate with visitors. “From there, we designed a technical platform as well as the infrastructure to support not only the projection screen but also the nine Ideum 43in Drafting II kiosks that allow the audience to create characters for the immersive worlds. We also designed the network infrastructure to support this technically complex system,” said Hardebeck. Ideum illuminated the massive canvas with three Christie 25,300- lumen M 4K25 RGB pure laser projectors with UHD 4K resolution and five 11,850-lumen DWU1100- GS laser projectors with WUXGA resolution. “Guests can create 3D interactive content on Ideum’s kiosks, including Renaissance- inspired self-portraits and modern flying machines, or explore the kinetics of the human body: all areas of study throughout da Vinci’s life. These are launched onto the 3000 sq ft projection screen and take on a life of their own,” said Hardebeck. With nine kiosks, the Hall can accommodate 216 users per hour.
Christie’s RGB pure laser projectors are part of Curiosity Hall, a new experience at Allentown, Pennsylvania’s Da Vinci Science Center. Ideum led the design and integration of the project, which features a show-stopping interactive projection surface – measuring 58ft wide by 53ft high – that is illuminated by Christie M 4K25 RGB pure laser projectors and GS Series 1DLP laser projectors. Da Vinci Science Center recently reopened in a brand-new, 67,000 sq ft, state-of-the-art downtown location. It features more than 50 interactive exhibits. In 2021, the centre approached Ideum with a vision for Curiosity Hall, which is an immersive and participatory theatre planned for its new downtown location. “The intent of the theatre is to focus on inspiring the curiosity of da Vinci in the three major fields of his study: art, engineering and the human body,” explained George Hardebeck, director of media systems at Ideum. With the goal of sparking curiosity among its guests, Ideum worked with the Science Center
AI EVENT SEES AV SUCCESS Europalco recently delivered AIvolution, the first conference in Lisbon entirely dedicated to artificial intelligence. Held in the Sala Tejo of the MEO Arena, the event brought together business leaders, innovators and AI enthusiasts to explore the transformative power of AI in business management and beyond. Europalco played a big part in the event’s success by providing full AV and staging services. Its team of approximately 28 members worked on-site and, after two months’ extensive preparation, they flawlessly executed all technical details. A 25m curved main screen and 4m raised circular screen in the middle served as the event’s centrepiece. This configuration was reinforced by 24m of projection on the sides of the black Europalco deployed key audio-visual technology, including an L-Acoustics Kiva sound system, a sophisticated lighting system with 14 mega point lights, 12 LED floodlights, 64 wash curtain, providing an incredibly immersive visual experience. lights and eight BMFLs, all controlled by a full-size console. Three cameras operated by a control system captured the event, while two Christie Boxer 30,000-lumen projectors coupled with four 16,000-lumen projectors provided stunning visuals. A Christie Spyder X80 processor and PVP server handled the video processing and show control.
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SUPER SOUNDS AT MARVEL EXHIBITION Produced by Semmel Exhibitions, Marvel: Earth’s Mightiest Exhibition offers a fresh perspective on Marvel’s rich 80-plus-year history. With its world premiere taking place in Wellington, New Zealand, the exhibition gives a behind-the-scenes glimpse into the creation of some of popular culture’s most iconic stories and characters – which is enhanced by an immersive soundscape from Genelec. The audio for the project was a collaboration between Sebastian M Purfürst of Berlin-based LEM Studios and acoustic scenographer Markus ‘Hossi’ Hossack. Commissioned to realise the artistic and technical concept of the immersive sound installation, they developed a soundscape that guides guests into the world of Marvel. “As composers, media artists and engineers, we like to call the development of the sonic layers of the exhibition experience ‘acoustic scenography’, which comprises the actual musical narration, ambient moments, sound effects, voiceovers and documentary layers,” said Purfürst. “The whole exhibition follows a common musical timeline and, depending upon the dramatic presentation of the rooms, we balance out the intensities and complexities of the acoustic elements.” Marvel’s inspiring history is told through an array of rare artefacts, multimedia displays and immersive technology that takes visitors on an unforgettable journey. Purfürst and Hossack selected 70 Genelec 4430 Smart IP networked loudspeakers for the audio aspect of the exhibition. “We utilised a complex matrix of loudspeakers spread across the exhibition space, with a central processing unit that feeds all of the acoustic events based on the Dolby Atmos standard,” explained Hossack. “With the Smart IP solution, everything was much easier – from rigging and cabling to routing. The loudspeakers were also the perfect size and integrated into the space seamlessly.”
PANTHER AT PAROOKAVILLE
Parookaville Mainstage since 2022, with technical directors Simon Jermer and Jan Flerlage providing system design, planning and implementation, and project manager Robert Sommer being responsible for Poolgroup’s full-service approach to design, lighting, video and other services. Poolgroup invested in Panther before hearing the system, Jermer explained: “We already had years of experience with nearly the whole range of Meyer Sound products. That built up a trust in the development of new products.”
Every July, Germany’s Weeze Airport is transformed into the ‘City of Dreams’ for Parookaville, one of the world’s most iconic EDM festivals. This year’s event welcomed 225,000 fans for performances by 300 DJs on 13 stages. Production company Poolgroup delivered premium sound for Parookaville’s Mainstage, in collaboration with Meyer Sound, debuting the groundbreaking pairing of Panther large format linear line array loudspeakers and 2100-LFC low-frequency control elements. Poolgroup has been supplying Meyer Sound systems for the
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BULLETIN
GEARING UP THE GREEN COAST Salt, a new bar located at the luxury tourist retreat Green Coast, recently turned to Martin Audio’s local distribution partner Prosound for a sound system installation. Tasked with reinforcing a wide range of music sources, including DJs and live bands, Prosound recommended Martin Audio’s CDD solution. NESTLÉ MODERNISES LISBON OFFICES Nestlé Portugal has installed a state-of-the-art LED screen from Alfalite at its Lisbon headquarters. In the Multipurpose Room of Nestlé’s offices, a total of 72 Alfalite UHD Finepix AlfaCOB 1.8 panels have been installed, forming a 7.2x2m screen. The LED solution provides sharp visualisation, which is ideal for presentations and events. STARIN PARTNERS WITH BOSE Starin, a Midwich Group company, has announced the start of a distribution relationship with Bose Professional. With Starin’s focus on integrated audio, the partnership expands its offering to include Bose Professional audio solutions, including the innovative Edge Max, Design Max and Show Match loudspeakers, high-performance amplifiers, configurable processors and the Control Space ecosystem. Bose resellers will have unlimited access to Starin’s sales and technical expertise and support. TAKING A STAND Yellowtec has launched the Mika table stand, a compact stand for professional and home microphone set-ups. Following a successful preorder phase, the Mika table stand is now available to the public in multiple versions, designed to meet the demands of broadcasters, podcasters and content creators worldwide.
SETTING AN IMPORTANT GREEN BENCHMARK
Audiotechnik supplier Southby Productions. The solution would embrace the event’s sustainability ethos while providing the long throw necessary to cover the large audience area with high-quality sound. In response, Southby’s Henry Cook specified a system of elements from D&B’s SL-Series (including GSL, KSL and XSL). These were chosen for their full- bandwidth directivity control and cardioid performance, which helps keep sound energy where it is wanted. In addition, the GSL and KSL delivered the required level over distance, while the use of D&B Array Processing ensured optimum clarity and control. Importantly, these tools included D&B’s Noizcalc software to both predict and mitigate the effects of off-site noise.
When band Massive Attack played a one-off gig in their hometown of Bristol on 25 August, their focus was on event sustainability. For the show, they chose a sound system from long-term partner D&B Audiotechnik. Staged at Clifton Down, Act 1.5 Climate Action Accelerator set a new benchmark for the event industry by being the lowest- carbon gig of its size ever staged. Everything was considered: plant-based food, compostable lavatories, promotion of public transport, recyclable serving items and a site powered entirely by renewable electricity. As Massive Attack themselves put it, the event was to ‘trial new standards for the decarbonisation of live music’. To fulfil their requirements, Massive Attack approached D&B
LED CUBE STUNS VISITORS OF ESPACIO MOVISTAR
Alfalite has been selected by Telefónica Tech, the technology arm of the global telecom giant Telefónica, to complete a standout installation at the company’s latest venue, Espacio Movistar. Located in the Telefónica Building on Madrid’s Gran Vía, the project is part of Telefónica’s 100th- anniversary celebrations. Alfalite has designed and installed a five-sided immersive LED cube covering three walls, the floor and the ceiling, using
its Modularpix Pro 1.5 ORIM panels. The LED cube creates an immersive sensory experience, leveraging state- of-the-art visual technology. The cube’s multiple high-resolution screens, when combined with the durability of Alfalite’s
panels, deliver breathtaking image quality, drawing viewers into dynamic and immersive content. The installation is part of Telefónica Tech’s strategy to infuse innovation into Espacio Movistar, a space where tech meets entertainment.
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DINE AND DANCE AT TIGER BAY
The venue features nine distinct audio zones, which allow for flexible sound management across the different areas of the restaurant. These zones encompass both the ground and first floors, as well as the reception area and mezzanines on each, ensuring that every part of the venue can maintain a high standard of audio quality. To achieve all of this, Middlesex selected KV2’s ultra-compact ESD5 loudspeakers, which offer exceptional clarity and performance for both the upper and lower floors. The ESD Cube was also used in the design for its ability to blend into the venue’s decor while delivering premium audio quality. “The ESD Cube is discreet but powerful,” said Jones. “It’s ideal for a venue like Tiger Bay, where aesthetics are just as important as the performances.”
Tiger Bay, one of London’s late-night shisha lounges, has continued its expansion with the opening of a new venue in Enfield. Being more than just a restaurant, Tiger Bay has built a reputation as an exclusive party destination that combines dining and entertainment in a vibrant, late-night setting. “The client reached out to us via word of mouth, bringing a set of detailed drawings,” explained Toby Jones, AV designer at Middlesex Sound & Lighting, the team that’s responsible for the sound system installation. “They were looking for a distributed audio system that could maintain impeccable sound quality whether at low levels during the dining hours or cranked up for DJ sets later on. Plus, it needed to cater to both indoor and outdoor spaces in the shisha lounge.”
Live venues come in many different shapes and sizes, which doesn’t make life easy for lighting designers tasked with enhancing artistic performance by creating stunning light shows. For lighting designer Alex Conde, the solution to this problem is Light Shark, a range of DMX-based hardware lighting consoles manufactured by Spanish company Equipson. Conde recently used Light Shark when he was commissioned to design the lighting for the band Xeria, who are touring Spain to promote their new album Fuego . “My main responsibility was designing the layout of the lighting equipment, programming the lighting for each song and automating MIDI commands with Xeria’s Cymatic Audio LP-16 MIDI audio system and an iRig MIDI 2 adapter,” he said. “For this tour, Xeria are employing four Equipson Mark Beam 201 moving heads, eight Equipson Mark Mbar RGB 4 lighting bars and four Equipson Mark MF 1500 VT fog machines. “To ensure that the lighting set-up matched their music, I used the Light Shark LS-Core to create a complete set-up with static lighting and moving heads. As this tour visits venues and festivals with large stages, as well as pubs with small stages, it was important that the lighting could be adapted and adjusted to suit both types of space.” ILLUMINATING XERIA’S SPANISH TOUR
PARK PLAYGROUND EXPANDS GLOBAL FOOTPRINT
Following Center Parcs’ successful adoption of The Park Playground’s virtual reality solution at Hochsauerland in Germany in 2023, the leisure giant will integrate the solution at an additional location in Germany, Park Allgäu, this year. The system will also be integrated at two further locations in Oudenaarde, Belgium, through its partnership with Bowling Stones – a bowling destination with venues across Europe – and in Los Angeles through its partnership with Player One VR World, an immersive virtual reality destination. Player One VR World will mark The Park’s first location in the US.
Park’s technical VR workflow and its full library of immersive VR experiences as a way to enhance entertainment for up to 16 guests per hour. This means they can drive footfall and revenue at venues while benefiting from the solution’s minimal space and resource requirements. Launching The Park Playground into the US, Player One VR World’s new venue featuring The Park VR System will open on 14 October in Hollywood. It will integrate a two-field, 7x7m playing area to accommodate a range of The Park’s VR experiences, including its strategic esports-inspired virtual battle arena, Nanoclash Focus.
As consumers demand more social-led entertainment, the VR System helps any leisure location quickly and easily meet these expectations. The turnkey solution lets operators take advantage of The
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ROLLING STONES FANS OFFERED LIGHTING SATISFACTION
creatively after six decades, Mick Jagger, Keith Richards, Ronnie Wood and company sought a fresh, diverse and visually captivating look for the tour. Given their rich history, coupled with a selection of new numbers, the design team sought flexible lighting that could work with LED video to transform the stage for each song. “We knew from the start that video would be a major part of the tour, so choosing the right light would be important,” Cook commented, adding that they met several times with Upstaging to discuss options. “The light that I wanted had to be universal, it had to be bright and it had to be all the same units – this was especially vital for the look and feel of the show.”
The Rolling Stones took to the road in April for their Hackney Diamonds Tour , a North American run combining classics and original material that featured an energetic, modern production which took advantage of Elation Proteus Maximus luminaires. Creative director Patrick Woodroffe worked alongside lighting designer Terry Cook of WBD and associate lighting designer and programmer Ethan Weber, all long-time associates of the band, with the lighting supply delivered by Upstaging. The band released Hackney Diamonds last October, their first studio album of original material in 18 years, and then followed this up with a much-anticipated tour announcement. Still moving forward
RADA REVITALISED THANKS TO PANASONIC
Panasonic Connect Europe recently donated its 1-Chip DLP laser projectors to the Royal Academy of Dramatic Art (RADA) to stage its summer production. The production – the satirical comedy musical Urinetown by Mark Hollmann and Greg Kotis – took place in RADA’s largest venue, the London Jerwood Vanbrugh Theatre. The video backdrop utilised two Panasonic 1-Chip DLP laser projectors to create a larger image across the cyclorama, bringing the fantastical world to life in front of the audiences’ eyes. Additionally, a central flown window utilised a 1-Chip DLP laser projector with an ultra-short-throw lens. The lens enables the projector to be positioned very close to the screen, without casting shadows or distracting the actors with bright light. Matt Leventhall, head of lighting at RADA, commented: “It’s wonderful when we are able to meaningfully integrate video and digital design into our work at RADA. It is relationships like the one with Panasonic which mean that we are able to keep our training up to date by exposing our students to the methodologies and technologies they will find at the highest echelons of the entertainment business.”
BOLERO GOES TO DALLAS
Riedel Communications has announced that Prestonwood Baptist Church in Dallas, Texas has upgraded from a stand-alone Bolero wireless intercom system to an expansive Riedel deployment. The enhanced system adds a full Artist intercom ecosystem, including an Artist-1024 matrix, various Smartpanels, plus additional Bolero beltpacks and antennae. In addition, Prestonwood added a complete Mediornet video distribution system, with MicroN, Compact and Modular units serving as video, audio and network gateways. Partnering with Broadcast Technical Services to design and deploy the new Riedel systems, Prestonwood has vastly improved the reach of comms, as
well as signal distribution between two campuses 27 miles apart. The domed and metal-framed architecture of the Prestonwood worship centre and its location at the highest point in the area presented wireless transmission and reception challenges that Bolero overcame.
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BULLETIN
IN-EAR ENHANCEMENTS Shure has announced Axient Digital PSM, its first digital wireless in-ear monitoring solution that exceeds the needs of touring acts and large-scale productions. It is Shure’s first wireless multichannel audio- enabled product line, empowering audio professionals to adapt to a wide variety of environments. A CHORUS LINE MUSICAL CHOOSES ZACTRACK SMART The A Chorus Line musical premiered at First Stage Theatre last June in Hamburg. The final project of the graduates of Stage School Hamburg ran until October 2024. This annual joint project receives support from the media technology students of Hamburg University of Applied Sciences, who are responsible for the automated control of the lighting, using a Zactrack Smart system. UNIVERSITY USES IMMERSIVE COMMS Simon Fraser University (SFU) has taken a pioneering step into immersive communication and spatial acoustics processing. Thanks to a grant, SFU established an acoustics lab that is equipped with 128 Renkus-Heinz C Series loudspeakers to support its innovative research in the field. Faith Community Church (FCC) has created engaging immersive services with audio technology from Eastern Acoustic Works. FCC had a plan to update its aging audio system into a traditional left-centre-right approach. However, after being presented with an immersive system demonstration comprised of Eastern Acoustic Works’ Adaptive AC6 column speakers, the choice was clear. COMMUNITY CHURCH GOES EASTERN
UNBEATABLE RF COVERAGE FOR JONAS BROTHERS TOUR
guests, there can be as many as 20+ people performing. So, we need a solution that is robust, provides great performance and works around the world. Wisycom checks all those boxes.” Included among the Wisycom solutions that Hernandez currently deploys on the tour are 32 stereo channels of the brand’s MTK982 dual-wideband IEM transmitter and the CSI16T Smart Passive Wideband Transmit Combiner, along with the MAT288 Diversity Wideband Programmable Matrix Combiner for microphone receive, in conjunction with a Digico SD7 Quantum desk.
With a Jonas Brothers history that dates back to Joe Jonas’ early tours with the group DNCE, touring monitor engineer Andy Hernandez knows what it takes to keep the concerts running. When the trio’s team came calling again for the current Five Albums. One Night. The World Tour (also known simply as The Tour ), Hernandez jumped at the chance. Hernandez said the planning for the tour was coordinated quickly and that the RF set-up is very ambitious. “The group is performing in large sporting arenas, with multiple stages in each. At times when there are
VADDIO UNVEILS VIDEOBAR
on par with Vaddio’s legendary Roboshot cameras,” said Connor Petit, product marketing manager, Vaddio at Legrand AV. “Coupled with the new Venture Tablemics, integrators and system designers can equip spaces for a great collaboration experience in any size meeting room. Venture products are discoverable by the Vaddio Deployment Tool and will serve up a familiar Vaddio web interface. As always, our products are backed by Vaddio support for total peace of mind.”
Vaddio, a brand of Legrand AV, recently introduced its Venture Videobar and Venture Tablemic expansion microphones. The Videobar features an ultra-high-definition, 8.51- megapixel, 1/2.5-type CMOS image sensor; a 110º wide-angle horizontal field of view; 5x digital zoom; a six-element beamforming microphone array; a high-fidelity speaker system; as well as built-in digital signal processing. “The new Venture Videobar delivers striking 4K video signals
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ASTRONOMICAL AV AT VMAs
central fan stage that emerged from a thrust under the Moon Person. The 20x20ft stage created an interactive space in which to move. A giant moon and the visor of the Moon Person both acted as dynamic canvases for projection mapping, showcasing legendary clips and iconic moments from the past four decades. This transformation from digital to reality, from screen to stage, encapsulated the overall theme of the anniversary show – a celebration of the past while looking to the future. Continuing his long relationship as the VMAs’ production designer, Matt Steinbrenner has made a significant impact in live event design. He has worked on the VMAs for over a decade and is known for his innovative and visually striking designs that fuse technology and art.
The 2024 MTV Video Music Awards (VMAs) celebrated their 40th anniversary on 11 September at the UBS Arena in New York. First held in 1984, the VMAs have left a cultural legacy that extends beyond music. The design for the 2024 VMAs harnessed the full potential of the UBS Arena. The visual centrepiece was a towering 60ft-tall ‘Moon Person’ emerging from a massive video wall and reaching 55ft into the room as if stepping out of the digital world and into the physical. This year’s layout broke new ground with four distinct stages, each providing a unique perspective and energy for both performers and the audience. The stages featured expansive video backing walls, setting the tone for an immersive visual experience. Positioned at the heart of the arena was an intimate
MIDWICH MOVES TO DRONES
Midwich has recently signed a distribution deal with leader in commercial and industrial unmanned aerial vehicle technology DJI Enterprise. From October 2024, the full range of enterprise drone solutions, including the DJI Dock 2, is available through Midwich in the UK and Ireland. It is designed to give businesses and organisations accurate information for timely decision-making, cost savings through reduced operational costs, enhanced personnel safety and quicker access to remote assets. Ross Floyd, commercial director (UK and Ireland) at Midwich, said: “By partnering with DJI, we’re combining our passion for technology with their cutting-edge offerings to offer unparalleled solutions to our customers. We look forward to working together and talking to our partners about how they can utilise this exciting product range.” According to PwC, by 2030, the commercial drone industry is estimated to contribute £45 billion to the UK economy, with projected carbon dioxide emissions reduced by 2.4 million tonnes and £22 billion in net savings.
DIARY DATES
REPRODUCED SOUND 12-14 November 2024
RISE AWARDS 19 November 2024 The annual awards recognising women and companies who
BETT UK 22-24 January 2025
ISE 4-7 February 2025
Bett UK is back at Excel London for inspiring content, networking and innovative product demonstrations from leading education solution providers. With 2025’s keynote delivered by the national treasure Louis Theroux, this year’s show is not one to be missed.
Join AV industry leaders at ISE 2025 in Barcelona for the world-renowned annual tech show for the systems integration and audio-visual industry. Be sure to get up to speed using our comprehensive ISE guide, which will feature in LIVE’s next issue!
Now in its 40th year, this conference represents the cutting edge of modern audio and acoustics in an informal environment that allows consultants, manufacturers, contractors, end users, academics and students to share insights.
are standout performers, innovators and leaders in the media industry. Judges look out for exceptional achievement and positive impacts across a broad variety of categories.
ADELE IN MUNICH
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CHASING PIXELS From a record-breaking LED wall to the expressive visuals it displayed, LIVE unravels the tapestry of tech that comprised Adele’s Munich residency Words Verity Butler
t seems to have gone from every once in a while to a regular occurrence that the world bears witness to the technical leaps and strides taking place in the AV sector. Adele’s second concert residency back in August 2024 is a glittering contemporary example. Held in a purpose-built outdoor arena at Messe Munich, it presented a mosaic of innovation – pooling together a dynamic intersection of tech vendors who in turn delivered a show for the history books. With the August shows succeeding her hugely lucrative Las Vegas production Weekends with Adele , the world-renowned British singer was eager to take on the next exciting challenge of her career. This month-long endeavour took place at the Live Nation-backed, purpose-built, 80,000-capacity Open Air Arena in Munich, Germany.
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The remarkably large LED wall featured on a Stufish-designed stage hosted by the exhibition organiser Messe Munich SONIC STAGING
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I was intrigued to see how such an expansive screen would be used – the bespoke visual effects were tailored to each song and really elevated the performance”
The 16-time Grammy winner, who has sold over 100 million albums, announced the gig to her fans via her Instagram: “A one-off, bespoke, pop-up stadium designed around whatever show I want to put on? I couldn’t think of a more wonderful way to spend my summer.” The ten-date residency consisted of two emotionally charged performances per week, with the singer pouring her heart out through 22 of her most iconic songs at what became dubbed the ‘Adele Arena’. The design of the event was delivered by Stufish. “We approached the stage design from different angles to address the emotive aspect of [Adele’s] show being inclusive and allow her to embrace her audience,” says Ray Winkler, CEO and design director at Stufish. “This was as well as delivering the technical complexity of our design to the high standard that she and her production expected from Stufish.” Though the show’s success could be anticipated, with audiences totalling a whopping 730,000, it quickly became apparent that this was to be greater than your average residency. WALL OF FAME Arguably more the show’s star than even Adele, let’s start with that Guinness World Record-breaking LED wall. Delivered and installed by Solotech, the visual spectacle consisted of LED panels from Roe Visual, supplied entirely from a single batch to ensure precise visual quality. The curved wall undulated across the enormous venue, spanning an impressive 244m in width and 18m in height. It was flanked by cylindrical
towers that resembled a vast analogue film reel – which served to complement the thematic visuals that were displayed on the screen. “While Adele is no stranger to holding multiple records for her music,” stated senior adjudicator for Guinness World Records Joanne Brent when awarding the record, “this achievement stands apart, celebrating her remarkable vision for the Adele in Munich residency.” The lightweight-yet-durable design of Roe’s CB5 Mk II made this massive installation possible. At the same time, its 6000-nit brightness and efficient heat dissipation ensured brilliant, vivid visuals throughout the duration of the outdoor performance. “It reflected the extraordinary experience she had meticulously crafted for her fans,” emphasises Brent. “I was intrigued to see how such an expansive screen would be used. The bespoke visual effects were tailored to each song and really elevated the performance for an undeniable ‘wow’ factor. It was a perfect complement to Adele’s artistry.” When speaking to Grace Kuo, sales director for Roe Visual, it is evident that the scale of the production and range of technical partners demonstrates that it was more than just a normal concert: “It was a fully immersive experience. This achievement highlights Roe Visual’s commitment to pursuing innovation and excellence in display technology.” STAR TREATMENT Adele’s music is proliferated with raw tales of devastating heartbreak and poignant life experiences. As a result, her shows demand a creative variation
Stufish’s impressive stage design allowed for singular special effects and an expansive experience
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A priority for the production team was making the stunning array of screens service the intimate style of Adele’s music and shows
A GIG FOR THE AGES
of visual content in order to truly capture the singer’s story. In Munich’s case, the end result ranged from painted vistas to a captivating reimagining of the Skyfall title sequence; with the responsibility for visuals having been assigned to the team at Treatment Studio. “A lot of the foundations of our business have been built in music touring,” explains head of production at Treatment Studio, Lizzie Pocock, “for the likes of AC/DC, Elton John and The Rolling Stones – to name a few.” An award-winning creative agency founded by industry pioneers Willie Williams and Sam Pattinson, the team at Treatment Studio generates experiences for live music, festivals, art installations, experiential spaces, branding campaigns and theatrical productions. Its expertise comprises stage, lighting and set design and multimedia content production, as well as the creation of interactive and mixed-reality environments. “We’ve worked with Adele for a number of years now, including, most recently, on her Vegas residency. This show was building on where we had left off with the Vegas shows,” says Pocock. “It’s a very different setting. Vegas was a small, intimate theatre, compared to Munich – a ginormous, stadium-sized set-up with such an impressive screen.” Pocock emphasises Treatment Studio’s
recognition of the Vegas show’s success and the importance of retaining a similar look and simply translating that into a wildly different environment. “One of the big considerations was that the audience’s view of her was a lot less close up. We had to make sure an image of her would be portrayed on the screen, in terms of both pre-recorded footage and from a live perspective,” she adds. Although the LED wall’s scale meant a larger canvas for the team to work with, it also came with its own challenges. “It was very long and shallow – not a typical aspect ratio,” Pocock explains. “But that made it fun, as with challenge comes creative thought, which pushes you to develop your approaches.” When it came to the visuals itself, the process began with some initial direction and ideas from Adele. “Then there was a natural creative process, during which we bounced ideas back and forth, as well as putting boards and animation tests together. We did this until we had 30 seconds of a piece to show to give an idea of what it was going to feel like. “We then built it out using imagery of Adele as well as silhouettes and other techniques for maintaining connection between the screen and the audience.” “Adele’s Munich show was particularly exciting for us to work on,” concludes Pocock, “because it really showcased
The LED wall was not the only element of the residency that will make the history books. The ten shows additionally went on to break records for the highest attendance of any concert residency outside of Las Vegas, as well as the Billboard Boxscore attendance record for concert engagement.
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“Luckily for us, Renzo Cargnelutti, our crew chief, is one of the most sought- after pyrotechnic programmers in the industry. His sequencing is a masterclass in how pyrotechnics can consist of more than just controlled explosions firing off ballistically – and actually be artful. “Then there was the task of taking the amount of confetti Adele is famous for using at her shows and finding a way to amplify that,” he expands. “We had to make sure we had enough to cover the whole crowd – the equivalent area of two American football fields – while having fire simultaneously.” The final total at the event was 100 confetti units which had
flame, and had the team build a lot of additional systems to massively beef up the number we utilise for this compared to a normal show,” Varley adds. “Through months of research and testing, our team succeeded in debuting four of our brand-new Liquid Flame Terra systems. These produce a massive flame over 30m tall. “We then also had to figure out how to do the pyrotechnics,” continues Varley, “developing effects in close proximity to the audience that could be safely fired as well as providing a massive, high-altitude finale to be shot up into the air behind the stage at the end of the show.
what our visuals were capable of in a temporary environment.” PLAYING WITH FIRE With the setlist featuring a myriad of Adele’s deeply emotional anthems, it was crucial for the special effects department to understand the tone, since they were grappling with a venue of such scale. “On 2 November 2023, Paul English, Adele’s production manager, contacted our CEO Nicolai Sabottka with the subject line: ‘ADELE LIKES FIRE’,” says Matt Varley, creative director at FFP Effects. Founded by Sabottka, FFP is the creative force behind the world’s most captivating flames and SFX. His mastery of pyrotechnics has ignited the imaginations of audiences worldwide and has fuelled 25+ years of innovation within the entertainment industry. “It’s always possible to put SFX on top of an existing stage, but when we’re given the opportunity to be behind the scenes from the beginning, it always leads to something extra special,” he says. Tailored performances that push the boundaries of live entertainment are FFP’s speciality, with its proprietary flame systems offering unmatched spectacles. “We initially took Liquid Flame Giga, our signature, proprietary large-flame systems, which produce a 16m-high
WATCH ME See the effects and screens in action during the concert
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to be manually loaded and reloaded over the course of the show. FFP’s effects were used across four of Adele’s iconic songs. Rolling in the Deep , which closed the shows, saw the final chorus kicking in with a rapid sequence of 540 pyrotechnic jets chasing back and forth along the passerelle (catwalk) – ending with a huge explosion of white confetti through the last note of the show. Set Fire to the Rain started with a tsunami low-fog effect paired with strobing pyrotechnics. The storm on the video screen then blended and distorted to become a full display featuring all 60 of the arena’s flame heads in action. CONNECTING THE DOTS When it came to production, the concert series was led by manager Paul English and sought expertise from a variety of disciplines within Clair Global, all of which was overseen by its account executive Andy Walker. “A great thing done by Andy was getting the IT team on board to supply fantastic internet across the whole site. It made our lives much easier throughout the entire backstage area, which is an immense space over 600m long,” says English. “This was linked to the comms system, so we could go everywhere with a Bolero pack – and worked perfectly, providing exactly what we asked for. “When it came to audio, the shows in Munich sounded phenomenal; in the stadium, it was amazing from one side to the other, front to back. It’s a pleasure to work with Adele’s audio team and have Clair as our supplier.” Walker comments: “This compelling project has been a lengthy undertaking
of Clair’s global resources from our UK, North America and mainland Europe locations. It has enabled the production to use a singular supplier for multiple services, including audio, comms, radios and production IT. This included an interdepartmental network and 150 Wi-Fi access points for site-wide IT support and fibre distribution.” Clair Global also deployed a control package that mirrored the Las Vegas set-up: Digico Quantum 7 consoles at both the front-of-house and monitor positions for the star’s long-time mixing engineers Dave Bracey and Joe Campbell. While Adele has long been cemented as one of the world’s best live performers and her production values are always first class, the scale-up in Munich was considerable – from both a PA system and monitoring/RF standpoint. Systems engineer Johnny Keirle mapped out a sprawling 36-hang, 14-delay-tower, L-Acoustics K1/K2/L2 design, covering the entirety of the large urban site in perfect clarity. This included carefully considering the amp positions and signal distribution to ensure that the almost 800,000 fans in attendance each received optimal sound quality. SEISMIC SYSTEM DESIGN Keirle describes his high-stakes undertaking: “The shows in Munich are an example of a completely different approach to system design. In Las Vegas, we worked with an immersive L-ISA system, while Munich instead utilised a traditional L/R-dual mono system. “This PA design was a complex process. There was a huge emphasis on creating a clean visual experience, with stage
NO LONGER A WALLFLOWER Covered with 4625 sq m of Roe Carbon 5 Mark II (CB5 Mk II) panels in both concave and convex configurations, the LED background wall earned a Guinness World Record for being the largest continuous outdoor LED screen (temporary).
Special effects company FFP was behind this impressive display of airborne pyrotechnics during the show’s finale
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With an artist like Adele, where vocal intimacy and immediacy are both so key to her appeal, the placement of loudspeakers is paramount”
design being central to the show. This meant we had to find solutions for high trim heights at the main stage end and finding discreet, tidy audio solutions within the audience areas.” With the stage thrust extending 100m into the audience and a passerelle looping from stage right to left, the team had to place delays beyond the golden circle and passerelle, relying heavily on the main stage K Series. Keirle also had several external factors to consider, as he points out: “Outdoor shows often present noise pollution challenges. Moreover, with the summer weather being unpredictable, I designed a system that could handle extreme weather changes without assuming optimal conditions for HF propagation. The goal was to achieve homogeneous coverage while maintaining consistent imagery and temporal integrity across the system as much as possible. “In a scenario where the audience is over 200m from the artist, it’s crucial for those furthest from the stage to have an equally great sonic experience as those up near the front. Particularly with an artist like Adele, where vocal intimacy and immediacy are key to her appeal – loudspeaker placement is paramount.” NEGOTIATING NETWORKS A vital aspect for the show’s connectivity was hidden networking. Laurie Fradley, event support engineer at Clair Global, elaborates: “We had to feed all our equipment positions for PA, comms and IT – some situated in the middle of the large audience – ensuring there were no clear cable runs. We took the decision to deploy a multi-strand fibre network throughout the site for both our team and other departments that needed to service these areas. In total, we ran
around 1200 fibre cores across the whole of the site.” Communications system designer Patrick Taghavi navigated the Riedel Communications Artist 128 digital intercom network on AES67 audio networks. With reliable communication and audio signal distribution needed for 230 crew members, Taghavi outlines that a major reason comms were employed was for departmental communication and to enable the show director to call cues correctly and safely. “A comms system like the one we built supports crystal-clear communication in a busy live environment,” he reveals. “We couldn’t run a show of this size without a robust, clean system – it’s critical to the safety of everyone involved.” The show’s 42-person string section utilised elevators built into the stage around the passerelle, an aspect of the show design that demanded a bespoke cue light system to be engineered by Clair Global. Conceptualised and designed by Fradley, then engineered and programmed by Jay Walton, the comms system housed a Raspberry Pi computer and Stream Deck controller. This gave a visual cue to the 42 elevators, allowing the classical musicians to rise effortlessly from the stage in synergy with their instruments being played. Production truly excelled in the implementation of these ten iconic performances through many sorts of weather conditions, and Adele showed the world how exceptional a stadium experience can truly be. The star took to her social media channels once again to state: “It was the best vibes all round. I’ve never seen anything like these shows, it was truly spectacular and I’m beyond honoured to have been asked to do them.”
Smoke and mirrors helped create the ambience Adele wanted for her fans
DIGITAL SIGNAGE
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Times Square is renowned for its vibrant atmosphere, characterised by dazzling lights and digital billboards
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SIGNED, SEALED,
DELIVERED Digital signage has steadily made a major mark on society – we go behind the scenes to discover the top-tier tech powering these diverse displays
Words Katie Kasperson
28 DIGITAL SIGNAGE L digital signs boast bright colours, high resolutions and smooth transitions, all enabled by pro-grade, energy-efficient LED screens and cutting-edge tech. While often used in advertising, digital signage also plays a more general communicative role, with the end goal of displaying crucial information or creating an immersive experience. LIVE looks at an array of applications, exploring how digital signage can vary in shape, size and scope – all while noting the tech involved in its upkeep and the future of this evolving AV area. PERIPHERAL VISIONS ook around you: digital signage is everywhere. It’s in airports, on the high streets, in universities, on the freeway. Constantly competing for our attention, the best When’s the last time you were in a major metro area, or drove down the road, past a billboard? What about when you went to a drive-through, took a train or visited a shopping mall or a sporting arena? Digital signs adorn all these places, whether you notice them or not. Steadily on the rise, digital signage is slowly replacing traditional displays. Presenting infinite possibilities, these signs are often more eye-popping, usually incorporate motion and offer environmental benefits as they don’t require regular replacement. However, there are many technical considerations worth noting when deciding whether to
Displaying content in real time requires robust software infrastructure and planning to prevent technical failures”
install a digital sign, such as how to get content from server to screen, how that screen will be powered and what happens if the system fails or falters. “From what we have seen,” begins Thomas Kramer, the vice president of strategy and business development at Mainconcept, “the biggest challenge is getting updated content to screen devices in the field.” While some digital signage hosts static content, there’s a growing demand for livestreaming capabilities. “If the device performs livestreaming from an online server, it requires permanent internet connection. The challenge is the connection stability,” Kramer notes, adding that these signs should ideally “fall back to static content if the connection fails,” akin to a radio station’s playout setting. Echoing Kramer’s idea, “displaying content in real time, especially across varying networks or remote locations, requires robust software infrastructure and planning to prevent downtime issues or technical failures,” adds Mónica Fernández, MD of nsign.tv.
Instead of livestreaming, some digital signs pull updates via 5G or OTA broadcasts. “Mainconcept offers streaming and codec SDKs for technology providers,” Kramer explains. “It is a choice by the customer on which they wish to use, typically aligning with their specific use case. HEVC/H.265 is currently seeing the most uptake. “This is the same Mainconcept codec used across verticals like broadcast, streaming and surveillance.” While Mainconcept falls on the software side of digital signage, providing data streams and signals from source to sign, there are hardware components also involved – namely, the screens themselves. “Ensuring seamless integration between the content management system and the hardware is critical,” argues Fernández. “A flexible CMS that supports interactive features or data-driven content can make a huge difference in creating a more engaging user experience. Digital signage is only as good as the content it displays, and audiences quickly lose interest if the
Digital signage can display menu items and promotions, allowing quick updates in real time
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