Abu Dhabi F1 Grand Prix weekend has always been one of the most exciting dates on the calendar for the UAE, with the on-track action and After Race Concerts providing world-class entertainment for race fans and music lovers alike. The weekend got even better in 2024 with the addition of Afterlife Abu Dhabi – a spectacular showcase of cutting-edge entertainment technology, keeping audiences captivated through the night and into the early hours of the morning.
“Afterlife Abu Dhabi was an innovative addition to the Abu Dhabi Grand Prix weekend, setting a new standard for the After Race Concerts,” stated Live Nation Middle East President, James Craven. “By extending into the early hours of the morning, we introduced a fresh dynamic to the F1 after-party scene, attracting diverse audiences who may not have traditionally attended the concerts.”
Reflecting on the success of the debut Afterlife Abu Dhabi event, Craven highlighted the impressive attendance as well as the positive response from attendees. “The audience was captivated by the use of cutting-edge technology,” he stated. “From mesmerising lasers and lights to the largest screens ever seen in the country, Afterlife Abu Dhabi delivered an unforgettable experience that solidifies our commitment to pushing boundaries in live entertainment.”
Tasked with supplying a turnkey technical solution for the event was mediaPro International. “We delivered everything from audio, backline, lighting and lasers, to video, rigging and trussing, show comms and radios, with the project led by PM, Uchit Mehta,” stated mediaPro International COO, Shaam Pudaruth. “Anyone who has seen an Afterlife show will know how mind-blowing they are and how extensively they utilise technology. The client knew exactly what they wanted, and our team did an amazing job of bringing their vision to life.”
With Afterlife being known for its captivating visuals, the Abu Dhabi show featured a 40m by 20m LED wall, utilising INFiLED AR MK2 3.9mm pitch blackface panels. “This high-resolution display provided an immersive visual experience, meeting the creative and technical expectations of the Afterlife production team,” mediaPro’s Deepak Laxman reflected. “With a total resolution of 10,240 by 5,120 pixels, the LED wall delivered ultra-clear visuals, deep contrast, and vibrant colours, enhancing the immersive nature of the show.”
To manage this large-scale screen, 18 NovaStar MX40 Pro processors were selected for their ability to handle high pixel loads efficiently. “The Afterlife team required all systems to run at 3,840 by 2,160 resolution @ 60Hz with 10-bit colour depth,” Laxman explained. “The 60Hz refresh rate ensured smooth motion rendering, eliminating screen tearing or lag, which is crucial for fast-moving visuals and synced lighting effects. The10-bit colour depth meanwhile allowed for over 1.07 billion colours, providing smoother gradients, deeper blacks, and more accurate colour reproduction.”
Analog Way RS4 switchers were used to handle high-resolution signal management. “We leveraged their DisplayPort inputs and outputs for seamless signal transmission,” Laxman commented. “The RS4 allowed us to manage multiple 4K sources with minimal latency while maintaining full 10-bit HDR colour fidelity. Its robust processing power ensured that all video content was delivered flawlessly.”
The lighting rig was looked after by Lighting Designer and Programmer, Konstantine Chaika, alongside Senior Lighting Crew Chief, Midhun Basuran. The inventory consisted of 254 Chauvet Color STRIKE M, 294 COLORado PXL Bar 16 and 60 Maverick Storm 3 BeamWash, 102 Ayrton Domino LT and 110 Cobra, with two Robe Spiider and two EKR3 BeamWash for key lighting.
Two MA Lighting grandMA3 Full Size and an MA3 light were used for control, while full redundancy was achieved using Lumiex GigaCore 10 and LumiNode 12. “A full-fledged visualisation suite was also deployed with Syncronorm Depence R3 and a grandMA3 Full Size console,” Pudaruth noted, adding that a total of 28 Smoke Factory Fan Foggers and 12 MDG ATMe haze generators were used as atmospherics for the entire venue.
mediaPro also provided 18 of its in-house Laswerworld RTI PIKO 80W lasers, with Pangolin Beyond Ultimate used for control and the show cued and triggered using a grandMA3 console.
Audio requirements were covered by an L-Acoustics K-series rig, featuring 48 K2 as the main PA, 31 K1 for front fills, 101 KS28 for subs and delays of two K2 and 12 KS28 for the VIP elevated platforms.
Two A15 wide, four A15 Focus, and four KS28 handled live monitoring for the headliner, while the downstage DJ monitor system comprised two A15 Wide, four A15 Focus, and two KS28. An additional seven A15 Wide were used for stage fills, all powered by 44 LA Rack III w AVB.
Yamaha PM5 Rivage consoles were used at both FOH and monitors. “We also catered for the various artist backline requirements with Pioneer CDJ 3000, DJMV10, DJS1000, DJ RMX1000, Allen & Heath Xone:96, PLAYdifferently MODEL 1 mixers along with a Nord Stage 4 88-key keyboard,” Pudaruth stated, crediting Senior System Engineer, Sudakahr Madula, with the flawless deployment.
A 20 Riedel Bolero wireless system served as show comms, along with 20 Motorola RM7 digital radios. Rigging meanwhile comprised around 60 CM Lodestar hoists split between one tonne and 500kg for the PA, with various lighting trusses and towers as well as 500 running metres of Litec QX30 and QD40 trussing.
With the uneven terrain at the Yas Gateway Park venue, the mediaPro team worked closely with All Events Services (AES) to find a solution for rigging the giant LED screen. “The sheer size and weight of the LED structure required careful planning and execution,” Pudaruth recalled. “However, our video team delivered the complete LED wall ahead of schedule, which was an impressive achievement.
“I loved seeing the touring team’s reaction the first night,” The COO added. “When you see an artist walk into a venue with their production and technical team and everything is set up and ready exactly how they want it, that’s a sign that we did a great job. It was a delight to work with Fritz Anders and the whole Afterlife team and we look forward to seeing them in the region again soon.”
Photos: Live Nation Middle East
