Over recent weeks, we have enjoyed some of the leading live events in the UK cultural calendar. With the pandemic diminishing in the public consciousness, record crowds have been attracted to festivals (including Glastonbury and the Isle of Wight), regional festivals, indoor concerts (including the Eurovision Song Contest) and a number of international tours by major artists Live events, whether they are concerts, conferences, sporting events, or theatrical performances, have undergone a remarkable transformation with the integration of AV and IT technologies designed to make live events more immersive., engaging, better quality and more widely available. Here are some of the technologies instrumental in bring about the transformation of live event culture.
In recent years, AV technology has revolutionized the way live events are produced, presented, and experienced, elevating the overall engagement and impact for both performers and audiences. AV News explores some of the applications and advancements in current audio-visual technology that have reshaped the landscape of live events.
Redefining visual experiences
Visual technologies have become essential elements in live events, captivating audiences and enhancing the overall experience. High-resolution LED screens, projection mapping, and Virtual / Augmented realties (VR/ AR) have brought stunning visuals to live performances. LED screens create massive video walls, displaying vibrant imagery and real-time supplementary content to create and enhance immersive environments. Projection mapping technology transforms static objects and structures into dynamic canvases, enabling artists to project intricate visuals that blend seamlessly with the physical surroundings. VR offers an entirely new dimension, transporting audiences into virtual worlds and providing unique perspectives.
Audio-visual technology has also opened up exciting possibilities for audience interaction during live events. Social media integration and real-time engagement platforms enable audiences to actively participate and share their experiences. Hashtag campaigns, live polls, and interactive displays encourage real-time feedback and involvement. Furthermore, wearable technologies, such as smart wristbands, enable synchronised lighting effects or haptic feedback, creating a synchronized experience that enhances audience engagement and connection to the event.
“The whole live event industry is based on AV technology, both audio and video parts are heavily used. Due to the distance, the signal extension is the number one, for example HDMI extension. HDMI signals should be switched while maintaining the HDCP regulations many cases. The AVoverIP is coming to the show too, the easier cable deployment and the high flexibility means more acceptance of this relative new technology,” explains Zoltán Vigh, Live Event Market and Product Specialist, at Lightware Visual Engineering.
A and V equally important
While the visual impact of a live show is fundament to its success, so to is the associated audio experience. Sound quality is paramount in live events, and advancements in audio technology have revolutionized the way audiences perceive and appreciate sound. Modern sound systems, including line arrays and immersive audio solutions, ensure even coverage and optimal sound distribution throughout the venue. Adaptive sound technology adjusts the audio output based on the venue’s acoustics and audience location, ensuring consistent and high-quality sound. Additionally, advancements in wireless technology have eliminated the need for extensive cabling, allowing for more flexibility in sound system setups.
Rent xR theatrical performances have been developed to allow individual audience members to take a real-rime role in the show. But, engaging individuals doesn’t allow event producers to ignore the fundamental tenets of the event: Zoltán Vigh, Live Event Market and Product Specialist, at Lightware Visual Engineering believes there is potential for personalisation in live events arena: “If personal devices are enabled and attached to the event with different technologies like AR/VR then the audience will receive a much more engaging experience than just a “regular” show. But don’t forget the show is happening on the stage (in most cases) in musical and theatrical productions, so it’s the No.1 to have a professional, real time and high-quality video and audio there.”
Lighting design and the use of drones now to play a crucial role in setting the mood and atmosphere of live events. With the advent of intelligent lighting systems and LED technology, lighting designers have unprecedented control over colour, intensity, and movement. Automated fixtures, moving lights, and interactive lighting systems enable dynamic and visually stunning displays. Lighting design can be synchronized with music, visuals, and even audience interaction, creating an immersive and transformative experience.
Reaching a wider audience
While thee 200,000 plus tickets for Glastonbury suggests that the live events sector is in rude health, social media has both redefined the popular notion of a ‘mass audience’ and provided a platform to disseminate content “to its supporters. “We now have the ability to reach global audiences through live streaming. High-definition cameras, streaming platforms and content delivery networks enable real-time broadcasting of events to audiences worldwide”. By extending the reach and impact of live events beyond physical attendance, remote viewers can both participate and engage. Additionally, virtual and augmented reality technologies enable immersive experiences for remote participants, creating a sense of presence and connectivity.
Real-time visual effects and augmented reality (AR) have become integral to live events, blurring the line between the physical and virtual worlds. From live video editing and real-time compositing to AR overlays and holographic projections, AV technology enhances performances with stunning visual elements. AR allows performers to interact with virtual objects or characters, transforming the stage into a dynamic and interactive space. These technologies create awe-inspiring moments that captivate audiences and enhance the storytelling capabilities of live events.
Zoltán Vigh, Live Event Market and Product Specialist – Lightware Visual Engineering comments: “The streaming solutions is a good interface between the traditional live events where you watch and hear the show and your home experience. If the audience can select between more camera views (close-up) on their phones, if the organiser attaches the phone habits into the show (meaning many people today can’t put down the phones for a minute only), if enabling them to share their presence with their friends through the social media channels subscribed to, they will be more satisfied with the whole event.”
The audience of one
AV technology has enabled the collection and analysis of data during live events, providing valuable insights into audience preferences, behaviour and engagement. From heatmaps that track audience movement to sentiment analysis of social media posts, event organizers can gain a deeper understanding of their audience and tailor experiences accordingly. Personalization is therefore possible, with content dynamically adjusted based on individual preferences or audience demographics, enhancing audience satisfaction and connection to the event.
Zoltán Vigh, Live Event Market and Product Specialist, at Lightware Visual Engineering believes: “The bandwidth to interact with personal devices is still a question in many cases. Realtime experience requires smooth data transmission both ways and if it is not available or breaks sometimes then the audience will not have a good experience and not use it at all. On the other hand, most of the artists do not like the personal cameras due to copyright and marketing reasons and its disruption of the attention to the stage. If one event requires your phones to interact and other event prohibit to use at all, then the audience will be confused. The habits change slowly.”
“There are many new event ideas coming to the market, like our customers at IL luminarium experience centres in the USA and Lightroom in the UK. We expect many more similar applications and we are ready to provide the best of the market seamless switching virtual matrix and extender for this, the UBEX AVoverIP devices.”
“They add more displays, more content, more additional content, more augmented experience, more impulse – so you will be addicted to go for live events again and again. It is important to do this with the level of competition with the personal AV devices which deliver more immersive experience too.” Says Zoltán Vigh, Live Event Market and Product Specialist, at Lightware Visual Engineering.
Where do we go from here?
Safe to say that the use of current and mering audio-visual technology in live events has revolutionized the way performances are created, presented and experienced. From immersive visual experiences to enhanced sound systems, interactive audience engagement, live streaming, dynamic lighting design, real-time visual effects, and data-driven analytics, AV technology has transformed live events into multisensory and immersive experiences. As technology continues to evolve, the boundaries of what is possible in live events will expand further, ensuring that audiences are continually enthralled and engaged by the power of audio-visual innovation.
Zoltán Vigh, Live Event Market and Product Specialist – Lightware Visual Engineering believes that there is still huge potential in the live events market: “All new experience centres, like science shows and the theme parks prefer to use AV. But anywhere you have walls you can put a huge LED instead or project video and you have immediately a new contact surface with your visitors, clients, guests. Imagine a sport venue where the walls are animated (huge interactive displays) depending on the preferred sport clubs playing that day. Or a theatre where not only the scene uses AV technology but the hallway and all other areas where the audience go or waiting. Imagine not only 55” LCDs on the walls used today, but a whole wall of the buffet for example and you get a trailer of the show just before it starts.” And in the longer term? Zoltán Vigh of Lightware is confident: “We believe AVoverIP is one of the trends will be used widely soon. Many technicians do not know IT technology yet but in time they will learn and love it (and some Ethernet switch manufacturers are also focusing to this market now), like what happened with Dante audio, which replaces the traditional multicore audio snakes. We strongly believe that uncompressed, 12-bit immersive AVoverIP will be used for live events video transmission and seamless switching, not only for LEDs on the stage but for all other displays around the event.”
Live events: getting the basics right!
The furore surrounding the broadcast sound quality of the headlining Guns N’ Roses set, on the Saturday night of Glastonbury, underlines the importance of getting the basics right in the live events business. You can have all the xR. Drones and special guests you like, but if the sound quality of the main act of a musical event is dodgy, the result is a lot of very unhappy customers
Many days after the event, controversy over where the blame for the problems should be apportioned. Guns N’ Roses’ live agency points the finger at the BBC for poor broadcast sound quality during the band’s 24-song Glastonbury set. Some fans watching BBC coverage at home, however felt that the footage was rife with technical issues, specifically affecting the singing of Axl Rose. Reports on social media referenced the singer’s vocals dipping in and out throughout the set, while those physically present at the event did not report any such issue.
“The sound Quality for #GunsNRoses at #glastonbury2023 on #BBC is absolutely horrendous, can hardly make out the Vocals or Guitar riff! Sort it out lads!!!” wrote one Twitter subscriber. Festival goers and TV viewers contrasted Guns N’ Roses’ experience with that of Elton John on the Sunday hight of Glastonbury. The Independent newspaper, on the other hand was in no doubt that the reception afford to Guns N’ Roses’ was justifiably attributable to the band itself: “Guns N’ Roses misfit a Glastonbury headline slot on so many levels that they might as well be wearing T-shirts reading “Leylines Suck” or “Beards NEED Moustaches. Axl [he of the allegedly dodgy vocals] it quickly transpires, is Guns N’ Roses’ fatal flaw. The band may be capable of weighing down their paciest speed-rock workout (“Double Talkin’ Jive”) to a ponderous chug. A parade of rock cliché outfits – shiny biker king, Vegas magician – only serve to emphasise the sense that he’s become a lounge singer tribute to himself. So now you know!
The furore surrounding the broadcast sound quality of the headlining Guns N’ Roses set, on the Saturday night of Glastonbury, underlines the importance of getting the basics right in the live events business.
AV enables cultural change
There is no doubt that changes in society determine what is acceptable for public consumption in live events, no more overtly racist or sexist events and even those which concern the potential mistreatment of animals, like fox hunting or hare coursing are generally frowned upon. This was the dilemma facing the traditional circus format.
So much so, that the Roncalli circus, founded in Germany in 1976, wanted to transform the traditional circus experience while also taking a stance against the mistreatment of wildlife in their industry. Founder Bernhard Paul came up with the idea to replace the problematic practice of keeping animals in captivity by replacing the animals with 3D holograms.
In cooperation with Roncalli’s agency, TAG/TRAUM, blueBOX was appointed to make this dream a reality for the entire 32 x 5 m arena. Choosing 11 Optoma ZU850 laser projectors to bring the animated horses, elephants and goldfish to life, Birger Wunderlich at blueBOX said: “We have been using Optoma projectors for six years and have consistently had a very positive experience with reliability, performance and affordability.”
Katja Burkard, a TV Presenter from Germany found the hologram the most entertaining part of the show. She stated: “I found it very contemporary – I especially loved the fact the hologram could replicate real animals in a very good way”. Janine Kunze, an Actress from Germany stated “The hologram at the beginning was really special. You will always remember the Roncalli circus once you’ve been.”.
Optoma’s ZU850 projectors bring the Roncalli circus to life, thrilling audiences all over Germany with entertaining holographic footage. Boasting superior colour performance and 360° projection capability, Optoma’s ZU850 models with innovative MultiColor laser technology have assisted in creating a phenomenal experience for Roncalli circus visitors. The installation was completed using 11 BX-CTA03 long throw lenses allowing the ZU850 models to be positioned further away for ultimate flexibility. Optoma’s ZU850 projectors bring the Roncalli circus to life, thrilling audiences all over Germany with entertaining holographic footage.
Thousands of visitors now enjoy a modern, entertaining twist on the circus experience. With 360° projection of horses galloping around the arena and elephants doing head stands, the Roncalli circus experience is not one to miss, with its future no assured it a virtual format
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Roncalli circus, founded in Germany in 1976, wanted to transform the traditional circus experience while also taking a stance against the mistreatment of wildlife in their industry.
ABBA performs in retirement
The four members of Abba made their first public appearance in 14 years as they attended the premiere of their Abba Voyage virtual concert in London. The concert has been in the works since 2016 and features ground-breaking new technology that recreates the sight of Abba in their 1970s prime, playing hits like SOS, Voulez-Vous and Lay All Your Love On me. To create the spectacle, the band performed in motion capture suits for five weeks, with 160 cameras scanning their body movements and facial expressions. Those became reference points for hundreds of animators and visual effects artists to create avatars of the band in their heyday.
Affectionately known as ‘Abba-tars’, the characters are not 3D holograms. “I don’t think any hologram shows have been successful,” producer Baillie Walsh said last year. “After five minutes, I don’t think they’re that interesting.” Instead, the characters appear on a 65-million-pixel screen, with lights and other effects blurring the boundaries between the digital elements and the ‘real world’ in the arena.
Press reaction to the preview shows of Voyage was almost universally positive: “Amazingly, they’ve pulled it off. The images might be 2D, but impressive lighting effects and back projections provide a crucial depth of field – creating the illusion that the band are really in the room with you.”
As the concert begins with the quartet ‘emerging’ from under the stage on risers, before launching into the spooky electric psychodrama of The Visitors – the title track of their penultimate album, from 1981. A photo-realistic Agnetha and Frida resemble peacocks in red and blue winged catsuits, twirling around the stage while Benny and Bjorn vamp on the piano and guitar. Although the band members were in their 70s when the motion capture footage was filmed, the Royal Ballet’s resident choreographer Wayne McGregor helped them recreate the movement of their younger selves. Agnetha and Frida’s home-spun dance routines, which could charitably be described as ‘extravagant walking’, are both instantly recognisable and achingly nostalgic.
While the virtual Abba are restricted to the centre of the stage, a spectacular floor-to-ceiling light show adds a propulsive dynamism to proceedings. The band perform Chiquitita against an eclipsing sun and are surrounded by pulsing laser beams during Gimme! Gimme! Gimme! (A Man After Midnight). “As long as you keep your eyes away from the big screens, where the avatars assume an unfortunate ‘uncanny valley’ effect, you feel like you’ve been transported back to the band’s last UK concert, in London’s Wembley Arena, 42 years ago,” said on guest at the performance.
The music is enhanced by a precision-drilled, 10-piece live band, who race through an eclectic set of Abba songs that mixes classics like Mamma Mia and Thank You For The Music with unexpected deep cuts such as Eagle and the tender When All Is Said And Done. The two new songs they released last year, Don’t Shut Me Down and I Still Have Faith In You, slot into the setlist seamlessly; while the footage of the band winning the Eurovision Song Contest in 1974 elicits an audible noise from the audience during Waterloo.
