Formula 1® racing made its way to Las Vegas, in November for the inaugural Formula 1 Heineken Silver Las Vegas Grand Prix 2023. The 3.8-mile street course ran the drivers, racing over 200 mph, past the landmarks, casinos, and hotels both on and off the famous Strip. To bring this race together with all the excitement of Las Vegas, and the strict track needs, a number of live entertainment production vendors were relied upon. They supplied services, equipment, and the crew to pull off not only the race, but also the concerts, events, and opening ceremony for the F1. Here is a closer look at a few of those companies’ reflections, in their own words, on their involvement.
SHOW DESIGN GROUP
Lew Aronoff, Project Manager
Since the race would take place at night they needed track lighting for the race, so F1 brought in DZ Engineering, a firm that has lit many of the F1 races around the globe to illuminate the course. The engineering firm, in turn, relied upon Las Vegas-based Show and Design Group to coordinate, install, and program a fiber optic control network, and the sports lighting required to provide an even illumination of proper light levels for both driver safety as well as the broadcast cameras that captured the race and beamed it around the world to race fans. SDG’s Lew Aronoff spoke with PLSN about his company’s solutions and services in getting the racetrack, banners, and signs properly lit, as well as setting the track record for ‘fastest lap by a Gator with a lighting console strapped to the back.’
Lighting Up the Track
Show and Design Group generally supported the track lighting efforts of DZ Engineering USA who were referred to us by an industry colleague. We were involved on a couple of different fronts. First, and foremost, was that we were tasked to assist in properly lighting the track. They had already purchased the fixtures—1,650 Philips ArenaVision LED luminaires—but they needed a company to help them expedite getting the parts together and coordinating them, addressing each one, and dealing with all of the logistics of delivering them in the order that they needed, and getting the whole system working. These lights provided the needed 150 foot-candles needed on the track.
Including spares, we had a total of 1,700 of the Philips ArenaVision fixtures, so we also had 1,700 power supplies. Between those two items, we had to add five connectors, a custom clamp configuration, mode and address them in the shop. We had six crew in the shop building lights out for six weeks and then we delivered them. It was 11 semi-trucks worth of gear to move to the site. It was an interesting challenge where they would call the day before and say how many lights, they needed at which location. We had to nimbly respond to those requests.
A 3.8-mile track has very many work locations and the big challenge was coordinating that prep and delivery so that it aligned with street closures, when they had the truss up, and when they were ready for it. Working with Lex Products, we also helped design and manufacture 175 custom 480V power distribution racks that would be needed for the project. They would drop down to 60A 480V connectors that fed sub racks with 20A connectors. We put together the entire infrastructure, the MA network. We had 22 points that distributed data throughout the track, 7,500 meters of fiber, and a boat ton of data cable. We provided the consoles, the NPUs, and we programmed the track looks for them. In addition to the custom power distribution racks, we built custom mounting plates for everything as well as the cable assemblies. They utilized a three-pin locking connector on all their data cables, so we had to procure, build, or modify, and adapt everything to make it all work.
Banner and Award Stage Lighting
We did not provide the truss for the track lighting, that was already designed, built, and imported specifically for the race. We did supply a lot of rental trusses for other needs, but the track lighting trusses were by others. We were out there with four boom lifts and a crew of eight running around with a grandMA3 strapped to the back of a Gator cart going from place to place. We dubbed it our ‘MA Assault Vehicle.’ On a side note, I was able to set a course speed record in my Gator at 27 miles an hour on the home stretch, even with our console weighing it down! I’m not sure that that’s going to be in the record books, but it was a lot of fun. We moved around the track, programming each location, then set up in the control room the day before the race, doing final programming via a cell phone with crew on the track.
We were also contracted to provide automated lighting for the banners. There we used Martin MAC Vipers, Robe FORTEs, and Elation Proteus Maximus lights. Lighting the signs and banners was an interesting challenge as they had a specification of a certain amount of light. The banners were lit at a high angle from one side pointing in the direction that the drivers were looking, so a counterflow to the race. The focus had to be right on. A FORTE in the face when you’re coming around a turn at 180 miles an hour could lead to some really tragic results. So, it was very painstaking and intricate. We had the honor to be able to pull it off. We are very proud to have been part of this project.
One of the big events that was associated with the F1 race is the Podium Stage in front of the Bellagio. We were happy to support Encore, the producers of this event, which also included some performances on the stage. We had some custom set carts that we built out that could roll around. We provided them with six Ayrton Dominos and 16 of the Ayrton Argo 6 fixtures that the folks at ACT Entertainment provided us with. There were a lot of rehearsals, a lot of 20-hour days. We had the top three drivers come by the podium to do interviews there. We had performances from Jabbawockeez, Blue Man Group, and a number of other MGM-hosted entertainers. I think that came out wonderfully.
The Right Vendor
Show and Design Group was the right vendor for this portion of this massive project because we always try to exceed expectations. One of the things I preach to my staff is that we’re not a rental house; we’re a service company. The level of service that we try to provide people, especially before the show is above and beyond. We have a ‘How can we help?’ attitude.
And not just with lighting, which is what we know best. That’s where we’re experts at, but we do carry enough to help with pretty much any other aspect. We have connections and work with a variety of people. While we don’t own video walls, we do know people who do, and we work with them to provide what might be needed. We’re open to offering advice and support in a way that might help the project go more smoothly for everyone.
One of our first questions in the field—and this is something we teach our people—is ‘How can we help?’ People come to us when they need something unique and wonderful. Our attitude is ‘Just get it done.’
It was definitely a wonderful, overwhelming, challenging project. We started dealing with the lights at the end of August, beginning of September. It was a huge undertaking. It’s moving parts beyond what most people would understand. ‘We’re going to hang four lights.’ Okay, we’ll need to get in a boom lift. It’s an hour to get a boom lift to that position. Every time we had to go out there, we not only had to secure a boom and a boom driver. With each boom we had a man on the road for support, and a couple of flag people. We had to put cones out, as it was in the middle of traffic.
Everything was a process. It wasn’t just, ‘oh, we’re going to hang some lights today.’ If we were going to hang lights, we needed to have traffic control in place. You needed to know ‘Where was the boom?’ With a 3.8-mile track, the boom could be an hour’s drive from where we needed it. We had four boom lifts out there, each with a crew of four, plus Jeffrey Yukelson and I running around making sure all the sites were working well. Jeff was programming.
It was a wonderful, never-ending list of logistical challenges that we had to overcome, and we pulled it off. Everybody was thrilled. It was an experience I will never forget. It was exciting, fun, challenging, frustrating, and wonderful—all at the same time.
For further information about Show and Design Group go to www.showanddesigngroup.com.
GUARDIAN BARRIER SERVICES
John Wagoner, Account Manager
Mount Joy, PA-based Guardian Barrier Services supplied products and services for the Las Vegas Grand Prix 2023, including the many events surrounding the race. Guardian, a part of the Concert Stuff Group, also recently provided crowd control solutions for the Metallica M72 World Tour, Luke Comb’s Gettin’ Old World Tour, and Lollapalooza. In addition to crowd control barrier solutions, the company supplies cable ramps, truss structures, delay towers, front-of-house and tech huts, rolling risers, platforms, followspots, and temporary protective flooring. Having worked with hundreds of shows, tours, festivals, and events each year, Guardian turns every customer’s needs into a solution, be it rentals, custom fabrication, or field technicians. PLSN spoke with John Wagoner, Director of Sales with Guardian Barrier Services on the solutions they provided for this massive event.
Scope of Work
For the Las Vegas Grand Prix, Guardian Barrier Services provided 500’ of crowd control barriers, 1,600’ of modular cable ramps, rolling risers, and DJ tracking tables, as well as having designed and delivered a custom, three-tiered rolling platform for a performing act. Guardian not only encompasses a wide variety of gear solutions, but also provides freight logistics, project and account management, and onsite support for multiple event needs.
Event Logistics
Due to the size and complexity of the event, there was limited access onsite in multiple locations. Guardian Barrier Services’ logistics team enabled the client to receive the gear needed in two locations located a large distance from one another within the race perimeter with one truck rather than two, thus streamlining the process for the client. The last-minute changes from the artists would typically have been challenging, however, our diverse team of seasoned professionals were easily able to accommodate these changes while staying on track and within deadlines.
The Right Vendor
Because Guardian Barrier Services centralizes multiple services such as freight, account, and project management, we were able to save the client both time and money making us the right vendor for this event. Our team communicated with the stage and production managers through each step of the process, from planning to load-out, to ensure smooth transitions and seamless execution. Guardian Barrier Services is thrilled to have been a part of the installment of the Grand Prix in Las Vegas and looks forward to a continued relationship with F1.
For more information about Guardian Barrier Services, go to www.guardianbarrierservices.com
PYROTECNICO
Rocco Vitale, Executive Vice President of SFX with PyrotecnicoFX
As part of the events surrounding the F1 race, Pyrotecnico and PyrotecnicoFX, part of the Live Events house of brands, added to the fan experience with dynamic fireworks and special effects during the 4-day event. Legacy company, Pyrotecnico lit up the strip during opening ceremonies providing synchronized fireworks from several casinos within close proximity to the track. PyrotecnicoFX brought the heat to several live performances as part of the concert series providing special effects for fans in attendance and at home watching. Rocco Vitale, Executive Vice President of PyrotecnicoFX recently spoke with PLSN about the SFX solutions and services provided by Live Events companies at the F1 in Las Vegas.
Scope of Work
The F1 event was a massive Pyrotecnico production. For the opening ceremony, we provided fireworks off four casino rooftops— Aria, Paris, Venetian, and Planet Hollywood—and then SFX for the Tiesto concert on the Paddock. On the 17th, we supported the Major Lazer concert at The Sphere. For the race on the 18th, we added three more casino rooftop displays at Bellagio, Caesar’s, and Wynn totaling seven full rooftop displays. Finally, we provided support for the J Balvin concert to wrap up the weekend’s festivities.
At Pyrotecnico we execute about 3,000 fireworks shows a year. I’d say we’re probably the largest provider of fireworks displays in the United States. Our fireworks display company is headquartered outside of Pittsburgh in New Castle, PA, covering the eastern half of the U.S. through to the Midwest. Since I originally started in that business, we now have about 100 full-time people in that company, which is currently run by the fifth generation of my family. I now oversee PyrotecnicoFX, our dedicated SFX company.
The Challenge
We execute thousands of shows throughout the year, whether it’s a concert, private show, or a fireworks display for a local community on the 4th of July. Coordinating seven fireworks displays off seven rooftops on the Las Vegas Strip was logistically one of the biggest challenges we’ve had as an organization. It’s just another level of planning and effort to accomplish such a dynamic project. I was super proud of what our team produced. We basically approached this as seven individual fireworks displays with one person leading the project. Although there were some commonalities in property ownership, it was unique in the fact that we were coordinating details with each casino’s team. Each one had their own nuances of how they handle security for large events. In addition to all the casinos, we also had to work with Clark County, F1, and the FAA —just a lot of different groups to ensure a seamless execution… As one would imagine, it was a heavy lift, but it was very rewarding in the end. It was a full-time project for a good chunk of our people. We had a crew of about 60 for the whole production.
The Right Vendor
We’re extremely proud of the work we did for F1. It’s our family’s legacy business. We have grown from our foundation with the fireworks display company in 1889, and now we cover everything—fireworks, drones, special effects, and all of that. Our versatility was on display during the Las Vegas F1 Grand Prix. I came up working in the fireworks business before branching out into special effects. A lot of our road operators and technicians on the FX side started there too. It’s a good foundation for people to learn the fundamentals of show production. I’m so fascinated by the fireworks business, and I believe it’s an amazing art. For us, it’s deeply rooted in our family and we’re very proud of what we did for the F1 event. To be a part of that was an amazing accomplishment for the organization and the people who work here.
Learn more about Pyrotecnico at www.pyrotecnico.com and about PyrotecnicoFX at www.pyrotecnicofx.com
