GLP Scores the Super Bowl Halftime Show
Around 250 German Light Products flagship LED products were deployed at the Pepsi Super Bowl LII Halftime Show at the US Bank Stadium in Minneapolis.
For Lighting Designer Bob Barnhart, of 22 Degrees, for whom this was his 20th involvement in the event (and 9th as principle LD) the sub-zero temperatures were just one of the many challenges he faced. Collaborating with set designer Bruce Rodgers of Tribe Inc, Nick Whitehouse, Justin Timberlake’s designer; and Josh Zangen of Fireplay, he drew heavily on GLP’s inventory to help light Justin Timberlake’s show, which took place in 8 different performance positions.
Bob explained: “JT was turning in so many different directions throughout the show, one of the biggest challenges was just keeping him lit properly. We had many different ‘key’ light looks, but it was quite the process coming up with all the proper angles, especially when you consider that we had to pick our final spot positions way back in September.”
The show opened in a basement ‘Laser Lounge’, doubling as the underpinning of the 360° stage, before JT emerged down the catwalk ramp and used the full expanse of stage and then field (all of which were immersed in production lighting). With Tony Ward from PRG’s Los Angeles office again providing inventory (and acting as lead Gaffer), supported by Travis Snyder, GLP’s impression X1 was the first fixture to make its mark, with 67 of the tiny heads used in the initial club sequence. Then, as he emerged from the 'club' and onto the field of play, 30 impression X4 lined the bridge. Barnhart also made extensive use of GLP’s hybrid GT-1, deploying 74 in total on the main stage, with a further 20 X4 Bar 20 battens also mounted into the stage. Finally, 80 GLP JDC1 hybrid strobes were mounted behind the stage and set into the front of some of the stage panels.
Bob first got together with head of GLP, Mark Ravenhill, at the LDI Show in November to discuss fixture choice. “I told him I needed a small format light for the beginning of the show. So we looked at the X1 and I felt it would be a perfect fit,” he said. “Using a large amount of small fixtures I think helped to keep the room a little more mysterious and club like. The X4’s were used on the ramp because we were transitioning from the club and we felt that we should maintain the fixture style to help tie things together.
"Thanks to their colours, matrixes and the ability to tilt, these are much better then the traditional xenon strobe,” he explained. This time they were deployed on the face of the band stage, mainly for the dance breakdown midway through the show, as well as on the upstage field carts which also saw the majority of the GT-1. “JDC1 has a lot more to offer than we had time to show off in 12 minutes,” Bob added.
The GLP GT-1s were also used on lighting carts upstage of the band stage as well as on all the speaker carts that went around the field. Barnhart said they were chosen because of their weight advantage and lack of a ‘brain box’ attached to the yoke. “I like the GT-1, it is versatile and smaller and lighter than its cousins from other families. As for the X4 Bars these were mounted to the front of the band stage. There was a row at the bottom exclusively for the dance break. There was also a top row for the dance break that could flip over and become footlights on the band stage.”
The LD paid tribute to his co-designers and the creative collaboration. “Bruce [Rodgers] did a great job of taking Timberlake’s idea of being all over the stadium, while Nick [Whitehouse] was good at keeping us in JT’s ‘world’ and helping everyone understand what he and the band needed and liked. I should also mention Pete Radice, David Grill, and Jason Rudolph, our 3 lighting directors.”
Finally, Bob reflected on his relationship with GLP, and the various roles played by the company’s fixtures. “GLP has been a true partner in our continuing efforts to bring something new and evocative to our shows,” he concluded. ”They have become a very solid manufacturer in the lighting industry, and as for support I cannot say enough about Mark Ravenhill and his team.”
Clair Brothers Rides Success at Moto DP
Clair Brothers new distribution partner in Spain, VTècnics, recently upgraded its touring P.A. to the new C12 system immediately following a decision to partner with the loudspeaker specialist.
VTècnics, which offer products and services in sound, lighting, projection and full-scale musical production, utilised Clair Brothers C12 as its main P.A., putting it to the test at the Moto Grand Prix World Championship.
Juan Carlos Álvarez, VTècnics stage systems engineer, explained: “We’re honored to have been selected for the 2017 celebration of the winner of the Moto GP championship, rider Marc Marquez from our home country of Spain.
“Events like this come with unique challenges, and it’s always best when our equipment works at the height of its potential. Which is what the C12 does – like a champion.”
For the event celebration, VTècnics hung four C12 speakers on each side of the stage, three of which with a 90º horizontal coverage pattern and the fourth bottom speaker at 120º. The audience area was not so large but was crowded with thousands of Marc Marquez fans and their noisy motorbikes, so for additional coverage in an effort to further overcome the background din, two Clair Brothers iS218s were positioned under the C12s on both sides.
The Moto GP promoter and its attendees were more than pleased. While attendees celebrated their new champion, and hung on every word he said, the promoter was provided with necessary peace of mind in knowing that VTècnics, with its reputation for always bringing their A game, would do just that. And they did, with Clair Brothers doing the same.
NanoLumens Wins Big
NanoLumens, creator of LED visualisation solutions, has announced its installation at the Atlanta Braves SunTrust Park Stadium in Atlanta, Georgia as the winner of the 2018 Digital Signage Award in the category of Music, Sports & Entertainment.
The company also announced that its Toronto Pearson International Airport installation received High Commendation in the Transportation category in Amsterdam at an ISE 2018 ceremony done in collaboration with the Invidis Digital Signage Summit.
“We are honoured to be recognised by this very discerning panel of industry experts,” NanoLumens Vice President of Global Marketing Joe’ Lloyd commented. “We are equally proud of the four other NanoLumens installations that were named finalists this year in the categories of Overall Excellence, Content & Creativity, Education & Healthcare and Transportation. Each and every day our dedicated team of LED visionaries strives to exceed the highest aspirations of our customers. These awards are a testament to our ability to live up to our customers’ creative imaginations.”
Absen Scores National Football Stadium
With a capacity of over 18,000, the National Football Stadium at Windsor Park, Belfast is one of the UK’s largest venues, playing host to national and international football matches, with Absen Europe called upon to supply its XD10 LED display solution – and share all the detail in HD.
Systems integrator Ashleigh Signs was engaged by the Irish Football Association following an open tender process to implement a digital display solution at the newly renovated stadium. Absen delivered a solution which would have the capability to offer replays of key action, live match feeds, stadium updates, commercial advertising opportunities and an overall better experience for visitors to the stadium.
The Irish Football Association decided on Absen’s XD10 LED display screen having evaluated the key features and benefits offered by the product. As Thomas Fulton, Senior ICT Manager at the Irish Football Association, explained: “The XD10 from Absen offers a high definition image and high brightness, together with an intuitive content management and replay feature on the back end – which for us, was exactly the all-round high-end solution we were looking for.”
Boasting a 10mm pixel pitch, 6000nits of brightness and 120 degrees of horizontal viewing angle, the XD10 offers real-time monitoring from PC, tablets and smartphones, giving the user complete control locally or remotely. With a panel thickness of 106mm and weighing 21kg, the Absen XD10 is thin and light, saving on installation space where it is at a premium, and making delivery and installation convenient and easy. Front and rear servicing make the IP65/54 waterproof module easily accessible for maintenance.
While the XD10’s product specification meant it could clearly deliver against the original brief in terms of end user benefits, a number of its key features also helped the Ashleigh Signs team to overcome challenges on site during the installation process. Space restrictions around the perimeter of the football pitch meant that regular access equipment could not be used, and scaffolding was the only solution. Weighting 20% less than traditional panels, and with a depth that is also typically 1/3 thinner, the XD10 cabinets ensured a fast and successful installation.
“The cabinet depth and weight were key considerations in finding the right display solution for the stadium. With good saturation in the marketplace and a strong price point given the quality on offer, the XD10 clearly stood out as the product of choice from every angle,” elaborated Tom Sadler, Digital Signage Division at Ashleigh Signs, who oversaw the project on site. “What’s more, working with Absen throughout the project was a pleasure. From sales right through to service, every team was skilled, knowledgeable and prompt in getting the necessary information to us and offering support with the product."
The 43sqm Absen XD10 screen was deployed in an 8.96m wide by 4.8m high configuration. Reinstatement of the cladding around the screen allowed it to tie in seamlessly with the stadium’s overall aesthetics. The content is delivered to the screen by Goalsport Mini – an intuitive and user friendly system by Czech firm Daite.
“We are 100% satisfied with the XD10 and it really has exceeded our expectations. Being able to control the screen device, locally or remotely, is a great feature and allows us to add and control content at short notice if and when required. Not only that, but it fits beautifully into our stadium environment – we’ve had fantastic feedback from visitors and it is now used not only for the football, but for other events we have taking place throughout the year. I wouldn’t hesitate in recommending it to anyone looking for a similar solution,” noted Thomas.
Ross Burling, Absen Europe’s business development manager for UK, Ireland and Nordics, concluded: “We excel in working alongside trusted systems integration partners such as Ashleigh Signs to deliver a bespoke solution for every client’s needs. With our proven performance and reliability in the sports market and compatibility with sports content management systems, all at an unrivalled price point, our products are a great fit for major projects such as this. The National Football Stadium at Windsor Park is an impressive, unique venue and we are proud that the XD10 now sits at the heart of the stadium, adding value and enhancing the experience for the hundreds of thousands of fans who live and breathe the game.”
Bexel Orders PHABRIX Analyser/Generators
PHABRIX has announced that NEP broadcast services company, Bexel, has ordered 31 PHABRIX Sx portable HD/SD analyser/generators; including six Sx TAG analyser/generators and 25 SxE units with eye jitter analysis, for use during the busy winter sports season.
This test and measurement equipment will be used for quality control and troubleshooting by engineers in the field and studio this winter. PHABRIX's Sales and Operations Director, Martin Mulligan commented: "Ensuring video quality is absolutely essential for high-profile live sports productions. Our Sx range offers engineers a high level of mobility, as well as the advanced diagnostic toolset needed to address urgent video and audio quality issues."
The ultra-compact Sx test and measurement range offers advanced capabilities including: hybrid IP/SDI performance (Sx TAG), physical layer testing (SxE), proven rugged design and ease of use.
In addition to handling 3G/HD/SD-SDI, optical SDI, HDMI, and analogue formats, the Sx series supports ST 2022-6 and, in an upcoming software release, ST 2110 encapsulation/decapsulation.
Designed for fault-finding and compliance testing, the Sx range can also be used in remote locations with monitoring over a network. The diagnostic toolset includes a multi-format waveform, vectorscope, and video and 16-channel audio monitoring.
An intuitive, colour-coded interface speeds testing workflows, and operation with mains or battery power provides versatility on the move.
www.phabrix.com / www.bexel.com
Pyeongchang 2018 Utilises K-array
Gangneung Ice Arena, built as a venue for the Pyeongchang 2018 Winter Olympics' figure skating and short track speed skating competitions, has a seating capacity of 12,000; housing two 60m x 30m ice rinks for competition and training.
The Olympic organisers needed an audio system that was precise and powerful for both the audience and athletes. Step forward South Korean-based distributors, Soundus, drafted in to provide a speaker with coverage.
Soundus designed a system of K-array Python-KP52 line arrays, chosen for its maximum clarity and definition, and ability to provide continuous, even coverage. The Python-KP52 has no crossover points in the voice range and no reflex ports. Only the closely-spaced, full-range 3-inch identical sound sources are responsible for the Python's line array characteristics.
56 K-array Python line arrays were installed horizontally throughout the bleachers for spectators with accurate audio, without obstructing the view of the competitions. A spokesperson for the Olympic organisers commented: "The sound is better than ever and we are really pleased with the result."
www.k-array.com / www.soundus.co.kr
IBASE Partners Quividi
Manufacturer of application specific, industrial embedded computing platforms, IBASE Technology and Quividi, provider of audience analytics in digital signage, has announced its partnership.
Quividi provide privacy protecting computer-vision technology, which allows screen networks, retailers, and brands measure and classify their audience, and understand the performance of their content.
For every screen and message - the system determines in real time - the number of viewers, broken down by demographics, facial attributes and mood, and the viewers attention time.
Retailers and brands can also design customer-engaging experiences by contextually triggering content against Quividi's real-time analytics, and benefit from Quividi’s new AI algorithm that dynamically optimises creatives for the most impactful audience engagement.
A number of IBASE players have been officially tested by Quividi, including the 3x 4K UHD SI-613- QT, ensuring full capability of running Quividi's VidiReports 6.x software in a single screen/ single camera mode, as well as in a dual screen / dual camera mode.
www.ibase.com.tw / www.quividi.com
RTS Turns 2018 Winter Games Provider
NBC Olympics, a division of the NBC Sports Group, has selected RTS Intercoms Systems to provide broadcast intercom systems for its production of the XXIII Olympic Winter Games, which take place in Pyeongchang, South Korea, on February 9-25 2018.
As per an announcement, made by John Pastore, Director of Broadcast Communications, NBC Sports and Olympics, and Denis Castanet, Director Global Product Management, RTS.
“There are very few TV shows or live sports event productions with more overall communications complexity than an Olympic Winter Games,” said Pastore. “RTS continues to provide NBC Olympics with the comprehensive needs of our project. We are very happy to be working with their products and support, to make our coverage of the PyeongChang Games a total success.
“We are honoured that RTS continues to be NBC’s trusted brand for broadcasting the world’s largest sporting events,” said Castanet. “Our long-standing partnership with the NBC team continues to evolve with our latest innovations in intercom technology. The RTS equipment list for NBC’s Olympics coverage in PyeongChang includes OMNEO, RVON, IP Trunking, ADAM intercom matrices, and intercom panels – all working together to provide seamless communications, exceptional efficiency and flexibility for their production personnel, in studio and on site.”
Russia 2018: Volgograd Nearing the Finish Line
The new stadium in Volgograd is in the last few weeks of preparations. Low current electric installation works are still ongoing. The installation involves installing lights and sockets in 2,000 rooms across the complex.
In the upcoming weeks, the under-soil heating will be installed, to keep the field in good condition throughout late winter and into spring for the 2018 World Cup games
Significant work is yet to be done around the stadium. Pathways leading fans to the pentagonal ramp - surrounding all stands - need to be created and a significant amount of landscaping is left for March, when grass and shrubs can grow better.
The general contractor, Stroytransgaz, confirmed that the stadium received a positive evaluation from federal body, Glavkozekspertiza, keeping track of major projects in terms of compliance with regulations and documentation.
The new Volgograd stadium will hold 45,000 people once opened later this year. During the 2018 World Cup it will host four group games, later becoming the home of FK Rotor Volgograd.
L-Acoustics K2 Sounds Alamodome
The Alamodome, the City of San Antonio’s huge 65,000-seat multipurpose facility, is tasked with doing it all: it’s used to host football, basketball, soccer, hockey, baseball and other events. But over the years, the sound requirements for contemporary collegiate and professional sports have only increased as the venue’s original sound system, installed when it opened in 1993, was close to running on empty.
As part of a recent $60 million renovation project to modernise the venerable venue and make it more competitive with other top North American stadiums, the City of San Antonio called upon Dallas-based technology design firm Idibri to design a new sound system that would bring the Alamodome’s aural experience into the 21st century. Idibri’s primary objective was to deliver the high impact, high SPL and enhanced intelligibility now required in modern sports, including the raucous NCAA Final Four games, which will be played there in the spring of 2018 for the first time in 20 years.
Only one PA system was deemed capable of truly meeting all of the facility’s diverse and intense needs: the L-Acoustics K2. Installed by LD Systems’ integration division, the new system is now composed of 76 K2 boxes and a dozen KS28 subwoofers powered by LA8 and LA12AX amplified controllers, with fill support from X8 coaxials on the club level.
“The Alamodome is a huge venue with some very real acoustical challenges, but you still want to give every seat the same great experience,” said Ray Givens, Sales Engineer and Project Manager for LD Systems, on the Alamodome sound system renovation. “The K2 lets us get excellent coverage and meet the SPL requirements of every game, including the Final Four—which will get really loud—without sacrificing speech intelligibility.
L-Acoustics sound systems has gained significant traction in sports venues in recent years, with new systems recently installed by LD Systems in the AT&T Center and Freeman Coliseum in San Antonio and Toyota Center in Houston.
“L-Acoustics is developing the same kind of reputation in sports venues as it has in live music,” says Givens. “It puts the sound right in front of the fans in the stands, no matter where they’re sitting. Upper bowl or lower bowl, you don’t feel like the sound is coming from some distant place. It puts you right up close.”
Ryan Knox, senior consultant at Idibri, points out that the Alamodome’s new sound system designs began with modelling in L-Acoustics’ Soundvision, the first 3D sound system design program capable of operating in real time. Beyond the main K2/KS28 arrays, the design was able to determine precise locations for the X12, X8 and 5XT speakers used to cover the under-balcony and suites areas, as well as hang points for any additional speakers needed for the Final Four and touring concert setups.
“The Final Four is unique in that it will bring in additional seating for the games,” continued Knox. “But the K2 will cover that with the exception of a few small gaps that will be easily addressed with a few additional speakers. The K2 covers everything else all the time, including even the suites areas, which had been an issue in the past. And we had excellent support from L-Acoustics’ team in terms of product delivery, design support and system commissioning. The K2 meets every expectation, and then some.”
www.alamodome.com / www.idibri.com / www.ldsystems.com