Podcasts about Populous

Big week in Oklahoma City as Populous lands OKC stadium development bid and Thunder make NBA Finals; Breaking down the viewership of Prime Video's NASCAR debut and the Broncos' ticket sales strategy paying off.

Banxico solo da 10% de lo que esperaban de remanentes para Hacienda, México y Estados Unidos llegan a acuerdo sobre el agua del río Bravo y Canadá elige primer ministro entre provocaciones de Donald Trump, con Gonzalo Soto y Patricia Tapia00:00 Introducción03:33 Banxico entrega remanente de 18,000 mdp a Hacienda; 10% de lo estimado08:59 Gobierno y la banca preparan convenio para financiar pymes12:38 México y EU llegan a acuerdo sobre las asignaciones de agua del río Bravo14:49 Mark Carney gana las elecciones en Canadá19:33 Populous tiene en sus manos el diseño de estadios mexicanos para el Mundial 2026

I motivi più o meno validi per abbandonare Spotify. I nostri dischi della settimana sono quelli di Viagra Boys, Maria Somerville e Samia. Nuovi singoli e nuovi album annunciati per Haim, Ben LaMar Gay e Sharpie Smile. I nomi del Siren Festival a Cagliari, del Poplar Festival a Trento e della Biennale Musica di Venezia. Populous ci consiglia in esclusiva un disco da ascoltare (trovate l'intervista più estesa su Telegrammy). Segnalazioni in chiusura: un'intervista a Rossano Lo Mele e una a Derrick Gee, un nuovo podcast di Liz Pelly.

Witajcie w kolejnym odcinku! Dziś czeka nas prawdziwy rollercoaster tematów. Tencent coraz mocniej ściska Ubisoft, WB mogło mieć swoje Mario Kart, a Nintendo zaskoczyło nowym pomysłem na Wirtualne Karty z grami. Do tego odpowiedzialność za Robloksa, powrót Game Informera i Yasuke, który szturmem podbija Steam. No to zaczynamy!

L'album non è mai stato così importante, e i nostri album della settimana sono quelli di Japanese Breakfast, Lonnie Holley e My Morning Jacket. Nuovi singoli per Kae Tempest, Deerhoof, e Populous. Il TOdays Festival 2025 non si farà, mentre l'AMA Music Festival ha una giornata niente male.

Jonathan Mallie of Populous joins Architectural Record's DESIGN:ED Podcast to discuss the design of the new Highmark Stadium for the Buffalo Bills, the use of multimedia to enhance architecture, and how the firm has become a leader in the sports and entertainment industry over the past 40 years.

DescriptionDESIGN:ED presents a conversation with Jonathan Mallie of Populous as he discusses the evolution of stadium and entertainment venue design, emphasizing the shift from purely functional spaces to immersive, memory-driven experiences. The discussion highlights how modern stadiums integrate technology, branding, and user-centric design to enhance engagement, referencing projects like the Buffalo Bills' new stadium and the Barclays Center renovations. Jonathan, soon to be Managing Director of the Americas at Populous, reflects on the firm's growth, the importance of community and storytelling in architecture, and the continued demand for innovative event spaces. The conversation also touches on personal career insights, leadership philosophies, and the future direction of Populous in the evolving entertainment industry.Learning ObjectivesAnalyze the evolution of stadium and entertainment venue design, focusing on user experience, branding, and technological integration.Evaluate the role of architecture in shaping community engagement and fan experiences within sports and entertainment venues.Identify key considerations in designing multipurpose venues that accommodate diverse events, from sports to concerts and large-scale gatherings.Examine leadership strategies and best practices for managing large-scale architectural projects, fostering collaboration, and driving innovation in the industry. Credits: 1.0 AIA LU/ElectiveSpeaker: Jonathan Mallie

In episode #133 of

Welcome to Dev Game Club, where this week we continue our series on 1999's Outcast. Tim can't get enough of the voxels, and we dive a little bit into combat, mounts, and structure. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Mostly through Shamazaar Issues covered: revisiting Defeating Games for Charity, the work behind the event, launch of VGHF library, accepting the voxels, possible benefits of voxels, how to represent transfer, back to metaballs, generating noise in the voxels, collision and voxels, looking unlike other games of the time, leaving out polygons for the voxels to show through, avoiding the enemies vs blasting, apparent resource scarcity, weak stealth, projectile-based shooting, combat and missing all the time, enjoying dodging but hating missing, abstraction in games, enemies dropping guns that disappear, voice work, stand-out characters, having fun with the NPCs, not being too self-serious, investigating the twon-ha, the different aesthetics of European games, a flexible mount, stumbling on the quest log, skipping ahead in the knowledge tree, seeing games in the same family, a milieu or scene, what were the game inputs that got you to this game, coming at ideas from different directions, German dubbing, the voice of Pey'j, adding legitimization, the music.  Games, people, and influences mentioned or discussed: BioStats, Mark Garcia, Artimage, Final Fantasy VI, Video Game History Foundation, Phil Salvador, Minecraft, Starfighter, Steve Ash, Spore, System Shock 2, DOOM (1993), CliffyB, Chess, Annals of the Grand Historian, Arnold Schwarzeneggar, Bruce Willis, Halo, Dark Crystal, Beyond Good and Evil, Rayman, Ultima (series), Populous, Peter Molyneux, Sid Meier, Civilization (series), Vitor, Assassin's Creed (series), David Gasman, Star Wars, John Williams, Dark Souls 2, Kirk Hamilton, Aaron Evers. Next time: More Outcast Twitch: timlongojr Discord DevGameClub@gmail.com

Det är dags att ta sig en titt på en klassisk spelstudio som inte längre finns bland oss. Vi pratar om Bullfrog Productions som spottade ur sig klassiker som Syndicate och Populous. Välkommen in till "Studio i fokus"!

Welcome to Dev Game Club, where this week we begin a new series on 1999's Outcast, from Appeal and Infogrames. We first talk about this past weekend's charity event, before setting the game in its time and discussing its early presentation. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Through tutorial Issues covered: Defeating Games for Charity, variety of streamers, offerings to the foundation, the speedrun seed, commenting on our own game, more memories of Jedi Starfighter, how a developer sees a game vs a player, a big doodyhead, the crossover of European games, setting the game in its time, not fitting in with others of its time, a weird company in gaming history, not being sure what's in the game, a parody of 1980s action heroes, pop culture origins, proper noun soup and a lexicon, waking up in another place, doling out too much worldbuilding at once, othering non-Western cultures, building on golden era science fiction, exploring the starting area, lots of verbs, discovering by exploring, technically first person, lack of quest markers, manipulating voxel density, using voxels differently, using voxels as rendering and simulation vs rendering only, ray-tracing, advances in hardware and looking back on old research, constructive solid geometry and tessellation, finding limitations, popularity in other regions, big in Japan. Games, people, and influences mentioned or discussed: CalamityNolan, LostLake86, Robotspacer, N01sses, Sierra On-Line, Mystery House, Enchanted Scepters, Video Game History Foundation, Trespasser, Tower Song, Omega Intertainment, RPG Maker, Kerbal Space Program, Sol10, Kaeon, KyleAndError, Might and Magic, AgelessRPG, Minecraft, NES, Spelunky, mysterydip, Belmont, Andrew Kirmse, Chris Corry, SW: Starfighter (series), Daron Stinnett, June, Valheim, Dark Souls, Delta Force, Shenmue, System Shock2, Legacy of Kain: Soul Reaver, Planescape: Torment, Homeworld, Johnny "Pockets", Civilization, Populous, Tomb Raider, Nintendo, Mario 64, Ocarina of Time, Anachronox, Metal Gear Solid, Atari, GT Interactive, Microprose, Hasbro Interactive, Unreal, Rollercoaster Tycoon, Asteroids, Franck Sauer, Yann Robert, Yves Grolet, Lennie Moore, Beyond Good and Evil, Armageddon, Arnold Schwarzeneggar, Sylvester Stallone, The A-Team, Flash Gordon, John Carter of Mars, Edgar Rice Burroughs, David Lynch, Dune, Mass Effect, Stephen Donaldson, Octavia Butler, Star Wars, DOOM (1993), Morrowind, Stargate, Pat Sirk, Spore, The Lord of the Rings: Return to Moria, Red Faction, TRON, Enshrouded, Unity, Claudiu, Heroes of Might and Magic, LucasArts, Insomniac, Metroid (series), StarCraft, Uncharted 2, Kirk Hamilton, Aaron Evers, Mark Garcia.  Note: The term I was looking for and remembered at 2 in the morning was "metaballs" Next time: More Outcast Twitch: timlongojr Discord DevGameClub@gmail.com

BRICS added as a new partner Nigeria, Africa's most populous country, with the 6th-biggest population on Earth. BRICS+ now has 10 members and 9 partners, which make up 54.6% of the world population and 42.2% of global GDP (PPP). Ben Norton explains the importance of this expansion. VIDEO: https://www.youtube.com/watch?v=ZNNrMP_1E9g Sources and more information here: https://geopoliticaleconomy.com/2025/01/19/brics-expands-population-nigeria-africa/ Check out our related video on BRICS' plan to challenge US dollar domination by creating a multi-currency financial system: https://geopoliticaleconomy.com/2024/10/19/brics-russia-multi-currency-system-us-dollar/ Topics 0:00 BRICS expansion 0:58 BRICS' two main goals 1:52 De-dollarization 3:36 Map of BRICS membership 4:00 Indonesia joined BRICS 5:01 List of members & partners 5:37 BRICS is 54.6% of world population 6:57 Fastest growing countries by population 7:59 Africa's population growth 9:05 BRICS is 42.2% of global GDP (PPP) 9:47 Africa's biggest economies 11:37 Nigeria is Africa's top oil producer 12:05 BRICS+ & OPEC+ 13:04 Shared economic interests 14:27 Outro

BRICS keeps expanding. As a new full member, it added Indonesia, the 4th most populous country with the 7th largest economy on Earth. BRICS now has 10 members and 8 partners. Together they make up 41.4% of global GDP (PPP) and roughly half the world population. Ben Norton explains. VIDEO: https://www.youtube.com/watch?v=tIDWOWHW-cU Sources and links here: https://geopoliticaleconomy.com/2025/01/07/brics-adds-indonesia-member-economy/ Check out our related report on BRICS' plan to challenge US dollar domination by creating a multi-currency financial system: https://geopoliticaleconomy.com/2024/10/19/brics-russia-multi-currency-system-us-dollar/ Topics 0:00 BRICS expansion 0:51 Map of BRICS membership 1:11 List of BRICS members & partners 1:47 BRICS share of world economy 2:27 BRICS vs G7 3:44 Indonesian economy bigger than UK & France 4:41 Indonesia's BRICS invitation 6:05 Global South cooperation 6:56 China supports Global South 7:29 Non-Aligned Movement & Bandung Conference 8:31 US-backed coup against Sukarno 8:58 CIA-sponsored massacres 9:53 ASEAN prefers China over USA 11:07 Philippines allies with USA 12:08 Indonesia calls China & Russia friends 13:52 China is Indonesia's largest trading partner 14:17 China is ASEAN's largest trading partner 14:39 Nickel production 15:32 Indonesia industrializes with China's help 21:53 BRICS cooperation 23:43 De-dollarization 24:46 Outro

Twitter: https://x.com/MikeBenzCyber Foundation: https://foundationforfreedomonline.com/

Is this a direction Canadians may approve of? Javier Milei is Argentina's new president. In office for less than a year (sworn in on December 10, 2023), Milei has actively engaged in sweeping change to Argentina's governance and economic regulations. He has closed 13 federal ministries, throwing 30,000 bureaucrats out of work, has shuttered Argentina's largest tax collection agency, challenged the agenda at last week's G20 conference in Brazil and during his speech at the World Economic Forum earlier this year ended by saying the government is not the solution, government is the problem, "long live freedom, Dammit!" With a hard turn to the right is Argentina on the path to return to the economic prosperity it once enjoyed and is President Milei a template for international voters increasingly turning to populous conservative political candidates, or are his programs turning to failure? Guest: Ian Vasquez. Vice president for International Studies at the Cato Institute and director of its Centre for Global Liberty and Prosperity. Co-author of the Human Freedom Index. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tom Bassam is joined by a couple of sports venue experts as he sits down with Jonathan Nelson, global head of digital at Populous, and OnePlan founder and CEO, Paul Foster, to talk about the future of the space. Populous is the leading firm in sports and entertainment venue architecture, while OnePlan is a five-year old business specialising in digital twin technology - essentially AI-powered virtual representations of physical spaces - like football stadiums or event venues. Together, with AI technology unlocking new possibilities, the two companies are collaborating to unlock greater understanding about the stadiums and arenas fans flock to, as well as helping those who manage them make sure those spaces are being used in the most optimal fashion.

In the latest episode of CoMotion's Fast Forward Podcast, Ray Sosa, Chief Planning Officer for LA Metro, sits down with our own Nick Perloff-Giles to talk about the billions the agency is investing to expand transit in the notoriously car-centric region. Ray, who has been working in LA transit for three decades, says the big shift is not just about the new rail lines and bus routes being built, it's about a fundamental change in attitude where people are demanding more transit options. ———————————— Join us next at CoMotion LA '24, Nov 13-14. Get your pass now: www.comotionla.com/register ———————————— LinkedIn: linkedin.com/company/CoMotionNEWS Twitter: twitter.com/CoMotionNEWS YouTube: youtube.com/channel/UCUdylw5XdxHdaXi-1KGwJnQ

Tuck your drafting pencil behind your ear and unfurl those blueprints because we're talking venue design with this episode, where we chat with Geoff Cheong, Senior Principal and Senior Architect at Populous. With a focus of drawing people together around the things they love and amplifying the atmosphere of excitement and joy, Populous has designed some of the world's most renowned venues. Geoff, who served as lead designer on Climate Pledge Arena and had a significant role in the design of T-Mobile Arena and many others, walks us through his experience as a venue and event designer and how he found his way into the field. From a love of sports at a young age to designing some of the most cutting-edge sports and entertainment venues, he provides fascinating insight into how venue design is approached and the importance they place on their project teams immersing into communities. We talk about the trends of more music-first venues as well as the importance they are placing on venue accessibility and inclusivity. From his home base in Kansas City, traveling for meetings, and a design-focused mindset with project collaborations and leading teams – hear a bit of what it's like to be a venue designer and some of the designs and innovations that inspire Geoff. Enjoy this interesting look into what goes into creating amazing new venues and retrofitting iconic legacy buildings on this fun, informative episode.Geoff Cheong: LinkedIn | EmailPopulous: Facebook | X/Twitter | Instagram ––––––ADVENTURES IN VENUELANDFollow on Instagram, LinkedIn, Facebook, or X/TwitterLearn more about Event & Venue Marketing ConferenceMeet our team:Paul Hooper | Co-host, Booking, Branding & MarketingDave Redelberger | Co-host & Guest ResearchMegan Ebeck | Marketing, Design & Digital AdvertisingSamantha Marker | Marketing, Copywriting & PublicityCamille Faulkner | Audio Editing & MixingHave a suggestion for a guest or bonus episode? We'd love to hear it! Send us an email.

Welcome back to part two of the December 91 Playing with Power episode and it seems this is an issue featuring many returns. Last time we talked about the Return of the Joker, this time we're talking about Return of Samus, aka Metroid II for Game Boy which features some really gross art (which we mean as a compliment.) Later we talk about Adventure Island for Game Boy which also has some gross art (which we DON'T mean as a compliment). There's also a Ninja Gaiden game for Game Boy. And if that wasn't enough Game Boy for you, we also get to see some reader created custom Game Boy designs. Some of these are REALLY cool and make us wish they had been real. There's also a few SNES previews for Pilotwings and Populous. There's lots to talk about, including that gal from Blossom, squishy monsters, SNES arcade software. We hope you enjoy!

In this episode, James Emmett and David Cushnan are joined by special guests, Richard Conway, Founder & Managing Partner at Spectacle Partners, and serial sports industry board member, Nic Coward, to review the action from a barnstorming return to Leaders Week London.The team touch on a number of topics from Day 2 of The Summit at Allianz Stadium as well as the on-stage sessions, which featured Nikki Doucet, Chief Executive Officer, Women's Professional Leagues Ltd; Kealan Casey, Director of Brand Marketing, North America at BBC Studios; Declan Sharkey, Global Director and Senior Principal at Populous; and Mark Ashton, Chief Executive Officer at Ipswich Town FC.

America's first Olympic games were bad. But just how bad were they??? The 1904 St. Louis Olympics were part of a World's Fair that featured human zoos, a display of premature babies, a racist athletic event called “Anthropology Days,” and more! The actual Olympic competitions were disorganized and featured mostly American athletes. And for the turd on this poo sundae - a marathon event that almost killed competitors. But despite all this, some historians feel the 1904 St. Louis Olympics have been misjudged. Let's find out! Remember, kids, history hoes always cite their sources! For this episode, Norm pulled from:  AICO. “1904 OLYMPIC GAMES ST. LOUIS, MISSOURI : OFFICIAL MEDALS & BADGES,” n.d. https://aicolympic.org/collectors_library/1904-olympic-games-st-louis-missouri-official-medals-badges/. Boykoff, Jules. Power Games: A Political History of the Olympics. Verso, 2016. DiMeo, Nate. “Olympic-Sized Racism.” Slate, August 21, 2008. https://slate.com/culture/2008/08/remembering-the-anthropology-days-at-the-1904-olympics.html. Holroyd, Steve. “Lacrosse at the 1904 Summer Olympics: Correcting the Record.” Crossecheck (blog), March 16, 2019. https://crossecheck.com/2019/03/16/lacrosse-at-the-1904-summer-olympics-correcting-the-record/. ISOH. “The Evolution of the Early Olympics,” n.d. https://isoh.org/cause-view/the-evolution-of-the-early-olympics/. Johnson, Walter. “The Largest Human Zoo in World History.” Roundtable (blog), April 14, 2020. https://www.laphamsquarterly.org/roundtable/largest-human-zoo-world-history. Kahler, Abbot, and Ellen Wexler. “How the 1904 Marathon Became One of the Weirdest Olympic Events of All Time.” Smithsonian Magazine, August 7, 2012. https://www.smithsonianmag.com/history/how-the-1904-marathon-became-one-of-the-weirdest-olympic-events-of-all-time-14910747/. Matthews, George R. America's First Olympics: The St. Louis Games of 1904. University of Missouri Press, 2018. Populous. “Populous Magazine | The Bizarre Tale of the 1904 St. Louis Marathon,” n.d. https://populous.com/article/the-bizarre-tale-of-the-1904-st-louis-marathon. Runner's World. “The Unbelievable True Story of the Craziest Olympic Marathon,” August 6, 2021. https://www.runnersworld.com/runners-stories/a37039437/1904-olympic-marathon/. Are you enjoying An Old Timey Podcast? Then please leave us a 5-star rating and review wherever you listen to podcasts! Are you *really* enjoying An Old Timey Podcast? Well, calm down, history ho! You can get more of us on Patreon at patreon.com/oldtimeypodcast. At the $5 level, you'll get a monthly bonus episode (with video!), access to our 90's style chat room, plus the entire back catalog of bonus episodes from Kristin's previous podcast, Let's Go To Court.

Wayne County, where Detroit is located. https://www.lehtoslaw.com

This hour, guest host Dave Cohen speaks with John Couvillon, Louisiana based pollster and founder of JMC Analytics and Polling, about why Republicans outnumber Democrats among registered voters.

The swipes email podcast

Welcome to Dev Game Club, where this week we start a new series on Heroes of Might and Magic. We set the game a little in its time, talk about the way the game creates a divergent path from other tactical turn-based combat games. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Some tutorial, some standard, some campaign Issues covered: the multiverse/divergent evolution, a game that wasn't copied, long games, setting the game in its time, moving more to real-time combat, finite audiences, action became important for larger audiences, the experimentation in the space, the unexpected battle map, an automated complicated board game, tabletop wargaming, wondering how you get from the main series to this, SSI's path, playing the tutorial, the early game, resources and time and other elements, the city view, generating armies and garrisoning, other things that buildings provide, the hero doesn't fight, choosing your heroes and what units you get, retreating and surrendering, leveling your heroes, not being expected to win the first game, the world map, exploring and watching the world map progress, considering multiplayer, metaphors for humanity (computing, industry, alignments, attributes), grinding, wanting cinematography controls in in-game cutscenes, deleting the chip bag, giving the cheats, #PecsAndGlutesForLyfe. Games, people, and influences mentioned or discussed: Ubisoft, New World Computing, Jon Van Caneghem, Final Fantasy Tactics, X-COM, Populous, Black & White, Marvel Midnight Suns, Freedom Force, Wildermyth, Civilization, Richard Garriott, Kaeon, NES/SNES, Chrono Trigger, Dark Forces, Full Throttle, Jagged Alliance, Dragon Quest VI, Rayman, Hexen, Suikoden, PlayStation, Warcraft 2, The Dig, Twisted Metal, Kings Field 2, Command & Conquer, Total Annihilation, World of Warcraft, Fallout, Firaxis, Final Fantasy (series), Baldur's Gate, Diablo, David Brevik, Archon, Gary Gygax, Dave Arneson, Chivalry, Dungeons & Dragons, Fallout Tactics: Brotherhood of Steel, Commandos, SSI, Ultima (series), Eye of the Beholder, Cinemaware, Defender of the Crown, Taylor, The Sims, Majora's Mask, GURPS, Baron, Shadow Tactics, Tacoma, Assassin's Creed: Valhalla, Metal Gear Solid (series), Halo, Prince of Persia: Sands of Time, Braid, Quake, Daron Stinnett, Celeste, Jeffool, Final Fantasy VI, Kirk Hamilton, Aaron Evers, Mark Garcia.  Next time: More of HOMM! Twitch: timlongojr Discord https://t.co/h7jnG9J9lz DevGameClub@gmail.com

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT Dubai, Qatar and more recently Saudi Arabia have developed a reputation in digital signage for bankrolling projects that seem mainly focused on sizzle and scale. But there's a lot more going on in the region than work that's just about Wow Factor. It's a busy, high opportunity part of the world for companies delivering big visual display projects, but also one that presents a lot of challenges in how things work - everything from regulations and timelines to cultural differences. I've got to know a Dubai-based company called Blue Rhine Industries through its strategy director, Nita Odedra, who I first met at an ISE conference. I'd already been impressed by how the integrator actually produces useful marketing - tight, explanatory videos that do the job of explaining what was done and why. It seems sensible, but is remarkably rare in this sector. I see a LOT of it, so I know. Nita and I had a great chat about the company's roots as a traditional sign company, and how and why it expanded into digital. We spend a lot of time talking about what's happening in the region, what customers want, and how business is done. If your own company is thinking the Gulf region presents a lot of opportunity for expansion, that is indeed true. But like a lot of things, it looks easier that it appears. Local knowledge and experience are invaluable. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Thank you for joining me. For those people who don't know Blue Rhine Industries, can you give me a rundown of what the company does?  Nita Odedra: Yeah. So we're a digital signage system integrator headquartered in Dubai, in the UAE, and we are working across the entire GCC on various projects. That includes additional screens, software, and interactive solutions, across a range of industries. That's us in a nutshell.  What are the roots of the company?  Nita Odedra: So we formed in 2006 by a gentleman called John V. Joseph, who still runs the company now, and he started the company as a static signage fabricator. So very humble beginnings where we were fabricators for static signs and shop signs. So it could be a Starbucks sign or a Cartier sign. Then inside the retail stores, it would be the category signage, light boxes, and menu boards in F&B, and that's how we started the business.  And you went to digital, was it because there was an opportunity or it was one of those things where you looked at it and realized, okay, we have to go this way? Nita Odedra: Yeah, it was the latter. It was that we identified that there was a shift happening, in retail, in F&B. So where we felt this the most was the quick-serve restaurants where they were changing their traditional lightbox menu boards to LCD screens, and that was a big business for us, lightboxes, menu boards, keeping those menu boards updated. So at that point, we realized that there was a shift happening and we were going to start losing the lightbox kind of offering that we had we formed a relationship and exclusivity with Phillips Professional Panels, Professional Displays at the time, and we were their exclusive distributor here in the UAE for a number of years and that's where the digital signage business began.  And what does that represent for Blue Rhine now? Is it like a big part of their business or like a sideline?  Nita Odedra: More than half the business now is digital signage or some type of static signage, which incorporates digital signage into it. So we have fully dedicated teams. It's like the business is almost split into two and digital signage is where we're seeing the most growth.  I suspect the two are complimentary still in that if you come across a job that involves something more than hanging a screen on a wall, there are a lot of solutions providers that don't really have the expertise on the engineering side, don't have the man lifts or any of these things to do the more aggressive or complicated work. Nita Odedra: Absolutely. So that's really our differentiator in the market here is that because the company grew from being a fabricator. So we have four factories. We have facilities for large steel structures, both indoor and outdoor large totems. So we're doing canopies for gas stations as part of our static business, which allows us to be able to do those large unipoles for the out-of-home media agencies, for example, down the highway.  So the ability to manage that whole project from technical drawings on steel structures and, the housing and all that type of stuff, all the way through to fabricating in our facility, installing it in-house, having the digital signage arm of the business, the software, the content, we're able to provide that full end to end solution and that means that when we're doing these installations, especially indoor environments, where we're doing the secondary structure, every millimeter counts when it comes to that perfection of LED screens, for example, and having that beautiful screen housing structure, that's all done by us. Lord knows we've seen around the world, large format display projects that have been done by companies who probably don't know what they are doing because things fall over or fall on people and everything else.  Nita Odedra: Yeah, we've seen that recently, but, we've got in-house engineers. We've got those project managers in-house. We've got guys doing BIM in-house as well.  So we have that technical capability all the way from the drawings. Then we've got the fabrication facility with skilled workers. We have multiple HSC kinds of offices that are going on-site. Most recently we did quite a complex project, from beginning to end, which was the Dubai Mall Aquarium, which was a long installation. That was six months. Because it's a fully operational mall, we had a very short window at night time to go in to put all the access equipment up and work. we had to take out the existing screen, which was an OLED LG display, and then replace that with the infrared screen that we put in and that took six months and we're very proud of that installation because we had zero HSC violations over six months and our team just did a fantastic job there.  Is that an anomaly or is that kind of the work you do?  Nita Odedra: That's very much the kind of work we do. So it is these large screens, it is custom fabrication. It will be complex sites. So we're doing one at the moment, which is a very large outdoor screen on the corner of a building, which is also still in construction. So this is very typical, especially when we're looking at those large format screens.  Those are jobs that don't come along that often, even in your region. A lot of companies would rely more on the, use a term I use quite a bit, meat and potatoes kind of work where it's conventional flat panel LCDs for menu displays. Nita Odedra: So here the market is a little bit different because we've got so many projects, new developments, they're trying to do things differently. We've got cylinder LCDs, we've got pillars being clad, etc. But yeah, you're right there. Our bread and butter and the fast-moving business that keeps the lights on is the retail business. That is the LED screens, the LCD video walls, and interactive displays in retail environments.  When we get those orders in, they turn around pretty quickly, within a couple of months, the payments are pretty good on those because you're delivering in a shorter time frame, and on the larger projects, that's where, sometimes we can get our money stuck, projects get delayed. An example would be Abu Dhabi Airport, Terminal A, where that project was delayed over a couple of years and we had that stock ready, and then COVID came, the project got delayed, and that became from what should have been two years became five years. You just have to sit on that stuff.  Nita Odedra: You're sitting on it or you install it and then the airport's still not open. You've got a screen up there that's not ready for any content yet. But it's just the way it is, especially in this region, projects sometimes do get delayed and we just have to be prepared for that when we're resourcing the company and now we're at over 750 people, almost 800 across the region. So it's managing those resources and making sure that the installation or the fabrication that we're aligned internally on manages everything.  So from a distance, I look at the GCC region and I see these mega projects being announced and I always wonder how many of them are actually going to be built and how long does it take?  Nita Odedra: So these are ambitious projects, right? So we're looking at projects in NEOM, like The Line, we've got several projects in and around Medina, and they are very ambitious when you look at them on paper. They are happening, but some of them are being scaled back. So you may have heard Neom The Line that was scaled back from, hundreds of kilometers down to just a couple of kilometers.  But it's still one of the largest building projects in the world, even at that scale-down size, right? Nita Odedra: Absolutely, and we are seeing that these projects are now coming to life. So things that were announced, what, five years ago, probably like 2018 when they set the 2030 vision for Saudi Arabia specifically. A lot of those projects are now happening, the hotels are opening, the resorts are opening, so we look at places like the Red Sea Development, which has luxury resorts. It's going to be a tourist destination. They're already accepting guests there now. They've got Qadir, which is picking up pace. We've got King Salman Park, which will be the largest urban park in the world. When you're in the city, work is happening and it's happening at a very fast pace. Who is largely funding these? Are you in a better position to see them actually happen if they're coming through a big fund like PIF in Saudi Arabia?  Nita Odedra: Yeah. So a lot of the work that we're doing and the projects, they are being funded by the government, by the public investment funds. So those are the ones that are picking up speed, but of course, other private companies are coming up with their developments and they're turning the round very fast. There are out-of-home media agencies that are doing phenomenally well. They're companies like Al Arabiya who are sweeping up these new developments for their network. Is it very competitive in your region? I'm familiar with three or four companies who do what you guys do, different routes, and everything else. But I suspect because of the money that's going into the region, there's all kinds of other companies in the region and in Europe and even in North America are looking at it and thinking we need to be there. Nita Odedra: There is competition. There are system integrators, smaller ones that we're having to compete with quite aggressively in the retail space, but where we're different is we've been in this game a lot longer. So perhaps we've lost some clients in retail for a year or two, they've experimented with perhaps other system integrators. Some have been successful, some when it comes to those retail projects, a little bit more complex where, the fabrication element comes back in again, experienced project management that comes back in again, HSC, when these elements are not supported by a competitor, they end up coming back to us and we're able to maintain that retail business. But absolutely in retail, we have a lot of competition. But there is a lot of work here. There are lots of malls still opening, whether that's the UAE or in Saudi, where there's a huge number of malls opening up, there is business there.  Does it feel at all like a bubble?  Nita Odedra: It feels like a bubble when I look at politics internationally and how we don't have that here and we're a little bit in a little happy bubble here. So yeah, it does feel like it sometimes. And it's easy to forget that this region is an anomaly. We are a region where there are a lot of ambitious projects with speed happening. There is work. There's a very positive attitude towards these projects that are being developed. There's a very positive attitude towards the hosting of sporting events in the region. People are excited about it. They welcome it. It's something new, right?  So it can feel like a bit of a bubble sometimes when we have so much regional excitement that, perhaps globally, it's not the same landscape.  Yeah, you mentioned shopping malls going up, and I've been to Dubai, it's been a number of years, but I thought even at that time, okay, there's enough shopping malls here now. But they just keep coming.  Nita Odedra: I'm shocked as well. So every time there's a new mall, I was like, surely they're not gonna be busy, and then you go, and they're packed. This is low season right now. So the school holidays started last week and we don't get much tourism in the summer, but the mall was absolutely packed. It's very much a small culture here. We don't have historical high streets or historical villages. Everything is new. Everything's flashy and people want to go to the mall. That's the only place that they can go to for F&B, for entertainment, picking up their groceries, and doing their usual high street shop. There's a practical reason behind that too, just that it's, so crazy hot there that malls are air-conditioned. So the dwell time, I gather, is not measured in minutes and hours.  Nita Odedra: Yeah, it is not unusual to be in the mall for six to seven hours. You'd perhaps do two meals there, watch a movie, go shopping, and then leave after doing your grocery shop. So it's high dwell times.  It's incredibly hot here. So I even have friends who go to the mall In the summer, just to get their step count in. So they'll go, grab a coffee, do their step count, pop in, run some errands, whether it's dry cleaning, or whatever it is that they've got to do, but they'll do that step count inside the mall, as opposed to a park, or the town pavements. Does that make it a better media environment?  Nita Odedra: Absolutely, So for the out-of-home media agencies, they've got a good captive audience there. It's all indoor. So I think it works really well for the media networks and or the out of their media agencies.  We've chatted a few times in the past. I'm always curious about the impact of the wow factor on Projects over there and how important it is  Nita Odedra: culturally, I think we've got a bit of history here with Dubai because it's been established a little bit longer in terms of these, ambitious developments, but they want to be the biggest and the best, whether it's building the tallest building in the world, the Burj Al Arab, the largest mall in the world, maybe the busiest mall, the busiest airport terminals. They do have this pride in trying to put developments out there that are new, and ambitious. Something that is the largest, and what that means is sometimes it comes with a bit of flash and you've got all bells, all whistles installations for screens. Dubai Mall is an example where I think that's the largest indoor screen in Dubai Mall and you'll have other ones coming up in the next couple of years trying to beat that I'm sure. Now, as somebody whose role involves strategy. I suspect it's a bit of a delicate dance for you in that you're hearing about these ambitions of being the biggest, the best, and so on and you have to sit there and think, monetarily, that could be great for us, but strategy-wise, I'm not sure that's the right move. Nita Odedra: Exactly. So we have to be really careful about which projects we take, how many projects we take, and when we take on new partners and new product lines. When we dive first, we're adding more software with, we're providing content now. So we've got to be really careful about what our strengths are and stay true to who we are. We get asked all the time to do things that are, outside of our scope, but we really have to say no, scale it back, and just stick to our objectives, our strategy as a business, the direction we want to go in, and that's very much customer experiences, passenger experiences. So we're one of the verticals that we're, growing at quite a fast pace is transport. So airports. There are a number of domestic airport openings in Saudi, we've got new airports opening in Dubai and, across the region. So that's an area that we strategically know that we can take on large projects, we're capable and we're going to see good business.  Airports, I talk about a lot as being, if you want to see the state-of-the-art and digital signage, look at a refurbished or newly built airport because it just covers the waterfront in terms of digital out-of-home, conventional signage, wayfinding, everything.  Nita Odedra: An airport is a perfect example of where you could probably take somebody for a site visit and show them every single type of installation for a digital screen possible and software and integration. Airports are the perfect vertical for us to really penetrate and all our complete offerings can be in an airport because we're taking our experience within malls for travel retail. We're taking our experience from mixed-use developments, and all our experience from all the other verticals can now be applied within transport and airports specifically. Yeah, I'm curious if you work with the large engineering and architecture companies, like, all the way up to Populous who I think is involved in the Qiddiya project.  Nita Odedra: So we work very often from concept all the way through to delivery, and that would mean the contractors, the architects, the cost consultants, the design consultants, these are all stakeholders that are involved quite early on in the conversations and remain in those conversations almost through to delivery.  What about on the services side? Obviously you're doing the front end, you're, deploying, you're, designing, fabricating everything else. Are you doing ongoing aftercare? And you mentioned content before?  Nita Odedra: Yeah. So services are part of the complete solution, right? So we've got to offer the AMC afterward, and that can be anything from servicing the screens to maintaining them in this region. You've got LEDs outdoors and they need to be maintained, and cleaned of dust. That's very much part of the AMC. There's remote content management where we're providing content management solutions for retailers and that's for outside of the region as well. So retail operators who are not just in the GCC, but all the way through to Malaysia, Europe, travel retailers who are in Norway. So managing their content from Dubai, and then, more recently providing the content creation piece as well. So that's where we will have partners. We've got our preferred content partners who are delivering fantastic work globally, and we're transparent with our clients as well that, this is our partner, but we're offering the complete solution under our canopy.  You're managing screens in Norway from Dubai?  Nita Odedra: Yeah, we're managing the content for screens in Norway, all the way through to Malaysia, and Indonesia, I think even in London, so it's becoming global now. So even though we're delivering work within the Middle East region and our direct offices and fabrication facilities, warehouses are all in the GCC, so those are the Gulf countries, Oman, Bahrain, Kuwait, Saudi, and UAE. We are also in Egypt. We're delivering into North Africa and the wider Middle East area.  Do you have a preferred list or go to a set of partners on the display hardware and software side, or do you take it project by project?  Nita Odedra: Yeah, that's a great question, actually. So as I spoke about earlier we started this journey with Philips Professional Displays that was for a short period of time when we were starting out. We then realized that distribution wasn't for us. We want to be a system integrator. We were shooting ourselves in the foot there. So that was handed over to another business within our group of companies. So our owner has a trading division. So that was handed over to them and they are now the distributor. And we fully threw ourselves into being a system integrator where we were able to develop relationships with a number of different vendors and partners, and we remain agnostic. So it's dependent on the project. What is right for that project? And yes, there'll be periods of time where sometimes we're getting great pricing from Samsung and we'll deliver a number of Samsung LCD screens, and then LG. The next day that changes and that's very much price driven if I'm honest Based on the availability of the screens then when it comes to the LED screens, that's far more complex and that is a problem based on the project and the requirements, and that can be very different from project to project. We have a fantastic Head of Digital, Neeraj Vyas, who's been with us since the beginning, been with us for over 11 years now, and he is in China almost every month going and doing that quality control, really getting into the details of the screen, and he's the one very often who will spec out which, the hardware we're going to use for those big projects. Do you find that the customers or the specifiers, if they're an engineering firm or an architecture firm, do they know what they need and what they want to use? Or are they saying, yeah, we want to use COB here, or it needs to be this pitch or whatever, or are they relying on you?  Nita Odedra: Yeah. So that does happen. They are informed and there are lots of great resources available for them to have a vague idea of what they want. But just yesterday I was on a call with our head of tech and a design firm where they loosely knew what they wanted and what they needed. But when we were drilling down into the requirements and the structure of these screens where they're going, and is it facing daylight? Is it not? We then realized that there was a support that they needed and some guidance on the specification of the screen.  So there was one specific screen that they mentioned, and we said, actually we have used that screen in an outdoor environment. We probably wouldn't recommend it for X, Y, or Z reasons. They understood the reasons. Because we're also the fabricator and we've got all this experience in indoor outdoor environments in this regio, we know the ventilation we know how to design those structures with ventilation, what type of provisions have to be made so we're able to get in quite early with these guys and educate them guide them on considerations that they may not have made  The heat in your region obviously tough on humans, and I know that any display technology company has to worry about getting that heat out of the enclosure or whatever, but do you really have to think about it there? Nita Odedra: Yes. We really do have to think about it. There are the manufacturers there who are saying, of course, that it will withstand heat to 50-60 degrees, even beyond some of them, but having done this for over 12 years.  But having installation throughout, the peak summer period for testing. We do have to make provisions for ventilation, for AC, for cooling. These are all provisions that we do have to make for outdoor screens, especially the LCD screens, mainly the outdoor LCD screens here, but for LED screens, of course, we still have to account for ventilation. Yeah. With them, you have to worry about blowing off all the dust and everything, and the sand that gets in.  Nita Odedra: Exactly. maintaining those, making sure that the sand, making sure the structure as well isn't capturing all that kind of dust floating around. So yeah, even simple things like, when you've got touch screens inside malls and stuff and the IR frame back in the days, there's dust captures in there or sensors. These are all things that we have to consider quite early.  I first got an idea of your company on LinkedIn by seeing a video that I believe was for the Dubai Mall, the project you were talking about before and what struck me is, Oh my God, there's an integrator who actually gets marketing.  Nita Odedra: Funnily, the John who I spoke about earlier, my boss, his background is marketing. So I think his degree was in marketing. So he's very passionate about our marketing. He's very hands-on and I'm getting WhatsApp messages in the night saying, let's try this. Let's do something different, and he's the gentleman probably on the video that you saw, and we're a bunch of passionate people. We've all been in the company for a while. He's been there since the beginning. over 17 years, I've been there for almost eight, or nine years now. So we were passionate about the business. We've grown with the business. We've seen the business grow and we're so excited about these projects that we're delivering. We're excited about what's happening in the region, not just for us, but we love to talk about other things that are happening in the region as well. So yeah, I think, we're doing the marketing justice and he's great on camera as well.  Yeah, I mentioned that just because I so often see reports about projects and I'm lucky if they even provide decent photos. So to come across videos that explain this is what we did, this is what we use, this is where it is, this is how it works without overwhelming you with Euro disco music or whatever, just the facts, it was almost stunning. Oh my God, somebody got it.  Nita Odedra: Yeah. So he really came up with a decision very early on, probably about six years ago, seven years ago, actually, that everything needs to be video content. He wasn't even happy with just images. He was like people are digesting content in videos and this was like the days, early days of, videos being on Instagram or LinkedIn. So we started churning out a lot more videos, to begin with, which were just the videos of the projects, and then that evolved to us giving kind of explainers, educating the audience and just making them short and snappy. We're making more data-driven decisions on the type of marketing we're doing, where are we getting the most engagement? What are people enjoying? What are they engaging with and sharing? And it seems to be that the ones where we're explaining in a very short space of time, like you said, within 30 seconds, get straight to the point. “This is a pixel pitch, 1.2, the size of it. What have we delivered? How did we do it?” And just get straight to it. That's what people want to know. They want to see the screen. They want to know how you did it and what did you do? Keep it simple.  Yeah, we were collectively on a panel a couple of months ago now in Munich at the Digital Signage Summit, and it was about doing business in your region and what I asked the group was how easy or hard it is because it is different, right?  You can't just drop your company into this region and expect to start getting the business rolling in.  Nita Odedra: Yeah, we've got 17 years of experience, but still monthly, there are new regulations. There are new challenges, whether that's employing locals. So in Saudi, we've got Saudinization where a set quota has to be local employees. Resourcing regionally as well can be a challenge, just licensing and all that paperwork for us still is a challenge. So I know how daunting it is for system integrators, and vendors trying to enter into this region and there are certain cultural sensitivities that we've got to keep in mind, there are a lot of different cultures working together as well.  So the culture here is very different from European culture and American culture, even more so. There's that consideration to have as well when you're entering into the market. But I would say to anybody that wants to enter into this market, partner up with somebody, to begin with, find the opportunities, find some local partners, get started, have your hand held a bit before you make any decisions, and jump straight into the deep end.  Now, for a company that's from Europe or from North America or elsewhere, looking at going into that region and saying, okay, I agree, let's partner. They're probably going to be intimidated that this partner may result in us losing the larger business because now we have a partner instead of doing this solo.  Nita Odedra: Yeah, I do personally believe that there's enough in the piece of the pie for everybody, especially in this region. But, we look at long-term partnerships. So we're quite selective with who we work with and how we work with them, and we do believe in honest, transparent partnerships. We will make sure that we've got contracts in place to protect them more than we even. So if they have, because we are looking long term, if they've brought a client, they've got a client who is from the US or Europe and they're looking to support them here regionally and they need a partner. We'll ring fence that client. We'll put contracts in place, it's a ring fence for them. It's only them. We won't touch them directly and just make sure everything's covered legally for them and honor that as well, so making sure that even from the top down, you've got that commitment. So we always make sure on all of our partnerships that from right at the top of management, I'm getting them in conversations with those partners and getting that commitment on what we will be delivering on, and also not creating any exclusivity either too early. Sometimes getting exclusive with a partner straight away and it's not good for them. It's not good for us, to allow them the flexibility to go out to other system integrators. They don't have to work exclusively with us.  And just finally, on the cultural side, I would say the common perception is it's very different over there and challenging to work in and everything else, but in talking with you and speaking with other people who work in the region, they've said, yeah, it's different, but it's perhaps not what you think. It's not as challenging and things have relaxed, particularly in areas like Saudi quite a bit.  Nita Odedra: I've seen a shift here. So I've been in the Middle East now for almost 10 years, and I'm originally from the UK. I'm just outside of London. I worked in London and across Europe and America in terms of my territories. So I'm familiar with the European market, familiar with the North American market, and the way of working.  There is a different culture and pace here, but the projects are happening at such a speed that things do materialize. They do happen quite quickly. So it's not that much of a culture shock. You've just got to be prepared, the professionalism, should we say, is different. It's there, but it's just different. All right. Leave me hanging on that one.  Nita Odedra: Timelines, deadlines, all that kind of stuff. Those get pushed back a lot in this region, adhering to timelines. So most of our projects that get delayed, get delayed by the client side, approvals for drawings, client.  One of the biggest challenges we have is site conditions. They'll push for us to have, I don't know, let's just say 300 outdoor interactive kiosks ready. They'll pay a premium just to have them turned around faster because they're not willing to wait nine months. They want them delivered in four months, and then there's no data or power, and we're sitting on 300-plus outdoor kiosks and charging them for the storage, and that is not uncommon.  Interesting. Great to catch up with you. We see each other here and there at trade shows, but we're obviously many hours apart. So it's not a routine thing.  Nita Odedra: Thank you for taking the time out, it's been a great conversation and I look forward to seeing you hopefully at ISE. Absolutely.  Nita Odedra: Thank you.

Professor Leonie Barner, serving as the Principal Research Fellow at Queensland University of Technology, and Dr. Kavita Gonsalves, the Sustainability Design Lead at Populous, have come together on the Think.Future podcast to narrate their collaborative journey concerning Building 4.0 CRC and the CommBank Stadium in Parramatta, NSW, Australia. The discussion revolves around the Populous-designed stadium, a LEED Gold-certified structure boasting a seating capacity of 30,000, which stands as a striking example of circular architecture. Circular design, stemming from the principles of the Circular Economy, is highlighted as an ethos striving to maintain building materials in constant circulation to minimize waste, pollution, and uphold biodiversity (per the Ellen Macarthur Foundation). Tune in to unravel the innovative essence of the CommBank Stadium and the valuable circular design insights shaping the future of architecture and design landscapes.

Have you ever wondered which type of animal is most plentiful on Earth? Well, wonder no more, nerd!  On this episode, animal expert Ellen Weatherford returns to guess the Top 10 Most Populous Animals on Earth, ranked by latest population estimates. PLUS...fun facts and trivia about each animal, what leads to huge populations, animal industrialization and domestication, the Insect Uprising, the Damascus goat, the weird dairy industry, and MUCH more. WATCH THE FULL VIDEO VERSION OF THIS EPISODE: https://www.youtube.com/10ishpodcast ------------------------------------------- Hear more from Ellen on her podcast, Just the Zoo of Us, a family-friendly animal review podcast. Listen now on any podcast app or at https://www.justthezooofus.com. ------------------------------------------- NEW BONUS EPISODE FOR 10ISH POD+ MEMBERS: Guess the Movie…based on a poorly-described plot summary: https://www.patreon.com/posts/107837305  ------------------------------------------- AD-FREE EPISODES: https://www.10ishpod.com/plus  NEWSLETTER: https://www.10ishpod.com/newsletter MERCH: https://www.10ishpod.com/merch REDDIT: https://www.reddit.com/r/10ishPod TIKTOK: https://www.tiktok.com/@10ishpod X (Twitter): https://www.x.com/10ishpod INSTAGRAM: https://www.instagram.com/10ishpod ------------------------------------------- Learn more about your ad choices. Visit megaphone.fm/adchoices

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT When an announcement came out about the experiential work being planned for the new Terminal One at New York's JFK Airport, I was familiar with some of the parties involved but not the one guiding it all - a design consultancy called Arup. I clicked over to LinkedIn and was surprised to learn this wasn't some little boutique company, but a multinational firm with more than 10,000 people. Arup describes itself as a collective of designers, consultants and experts working across 140 countries. One of the intriguing aspects of the company is that while it has teams very much focused on the creative process, it also has large teams focused on wildly different aspects of projects, like structural engineering and water conservation. I had a great chat with Gideon D'Arcangelo, a Principal at Arup who is running the JFK project and came over to Arup after many years at the much-respected creative tech firm ESI Design. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Gideon, thank you for joining me. I think the first thing to do is tell me about your company.  Gideon D'Arcangelo: Dave, it's great to talk with you. Gideon D'Arcangelo, I joined Arup five years ago. I just reached my five-year anniversary of joining. Arup is a global design and engineering firm, 20,000 people strong, with over 90 offices. So, we work at a global scale. We're really joined up globally, and we do all aspects of design. We are a very multidisciplinary firm. We started out as structural engineers. We are a firm that has major projects with the Sydney Opera House and the Center Pompidou.  Arup is a cooperative. It became a cooperative in the 1970s, and so we have members that work globally, and we pride ourselves on our interdisciplinary design and practice something called Total Design, which is the more integrated, the more different disciplines working together, the better the outcomes in the built environment. Our main focus is on sustainable development, and in fact, the United Nations' sustainable development goals are our mission statement for the company and we feel that we can really move the needle since we touched so many projects in the built environment globally, every year, we can really move the needle in that direction.  Interesting. So, I'm curious about the sustainable development part of it. Is that a pivot that the company has made seeing where things are going, or is that kind of always been in the DNA or has been for some time?  Gideon D'Arcangelo: I'm really happy to say that sustainable development has always been in the DNA. Arup's been a leader in this place and has been leading in these concepts of sustainable development for 30+ years, if not longer. There are certain professionals here, Joe De Silva, for example, in the UK, who have been leading in sustainable design and development thinking for over 30 years, and really, we are happy to see that the sustainable advice practice that we have as the world is caught up to really understanding that this is a priority and a necessity. So not a pivot at all. In fact, something that we're just really happy to see is that everyone is focusing on it and prioritizing it as much as the firm is. I was recently at a conference in Europe about digital signage. One of the major discussion points was what they coined as green signage and the whole idea of sustainability. I led a number of panels, one focused on the North American market, and I told the audience and confirmed it with the North American panelists. While green signage is a big deal, and there's a lot of discussion around sustainability in Europe and other parts of the world, it's barely on the radar in the US and Canada, perhaps to a lesser degree, with a notable exception, maybe very large corporations, but most businesses really aren't talking about it yet. Gideon D'Arcangelo: I think that's right that America tends to be and in Canada, North America tends to be a bit behind on this, and you get the leadership from Europe, from the UK, other parts of the world, I think, because resources are more constrained over there, frankly, and they're getting to understand the limitations of resources. They're better than we do here yet, but everyone has come to terms with that quickly. So we tend to learn a lot from what's happening in Europe and bring it to the Americas because we know it's what's coming next.  Yeah. Some of the European guys were saying just about any RFP or tender that you get that's right up top, they want to know about your sustainability point of view and practices as well. One of the American guys said that in the last three years, we've never seen it in a tender; it's not even stipulated.  Gideon D'Arcangelo: Yeah, it'll get there. It'll get there. It reminds me just of a project that I did at ESI back in 2015 for PNC Bank. PNC Bank, you may know, has just been a leader in the sustainable development of their real estate fleet for years, and there was a wonderful man named Gary Salson at the time, who was the director of real estate and commissioned the PNC Tower in downtown Pittsburgh, which at the time was the greenest sky riser and among the top 5 greenest sky rises on earth really pushed the envelope in terms of green design of a building. I was at ESI at the time, and we were commissioned to create a digital display component, the sculpture component is part of the lobby experience. That was intended to give the building a voice and have it talk about how it was using resources or how it was saving resources really ahead of its time, fantastic project, and for that, we had to design our own canvas, our own display, because we couldn't put a big energy hog in the building to tell the story of the building. It was an interesting design challenge.  So you were at ESI for a whole bunch of years, right?  Gideon D'Arcangelo: I was at ESI for 24 years, so yeah, a long time. That's where I grew up in my career.  Fantastic experience. What was your role there by the time you moved on?  Gideon D'Arcangelo: I was in the organization's leadership by the time I moved on. I also led our business development and marketing. In the end, there, I became a multidisciplinary creative director on some of our projects, for example, leading the design lead on this PNC Beacon Project. I joined the firm as a UX designer. We called it an interactive media designer in the mid-90s when I joined the firm.  Almost pre-digital.  Gideon D'Arcangelo: Yeah, it was right at the cusp of all that stuff, and ESI was always leading edge in that regard, and we had a team of people that did interactive design when there were very few people in New York City at least the very few firms doing that at the time. So that's how I grew up doing UX/UI designs for Museum interfaces. I was always into working in the built environment, creating some interesting museums and corporate programs. But over time, being there as long as I could, I was able to move into the position of design lead, where I could speak to the different disciplines required to deliver these experiences. So we have physical designers, technology designers, hardware folks, software designers in both front and backend software design, visual design, graphic design, both static and motion, and content people as well as writers who are in practice. Directing that whole team together, is how you get these comprehensive experiences, and so that was what I was doing at ESI by the end of my career.  And it's the kind of company that while it's substantially in that particular space, in comparison to a rep or those kinds of companies quite small and you would have been contracted into projects like PNC and so on, as opposed to leading them versus I assume now with the rep that you guys are largely leading these projects.  Gideon D'Arcangelo: That's right. It's a different dynamic. When I moved to Arup, it was really about making a jump in scale and so from working in a 50-person boutique pioneering innovative firm in New York for a couple of decades, going to a global firm that's operating at a whole different level of scale, really excited me, and I thought this was a really interesting place to experience design because it was being recognized in the marketplace in different ways. Various architecture firms were building up their experience in design practices. Arup was really interesting to me because it's primarily an engineering firm and so brings the deep technical acumen that no architecture firm could really bring to the table. So, I was attracted to a firm like Arup that could push into the next generation of experience design at much larger scales than we've ever seen it before.  So would you be competing for jobs with the populaces of the world in Gensler, or are they a different element of it?  Gideon D'Arcangelo: Again, it all just depends on the context. We work with the populace. We work with Gensler all the time in various capacities on very big projects. There are ways to carve out scope for an Arup alongside our partners like populace and Gensler. In some cases, we might find ourselves going up against each other for a certain piece of scope. All you know is that just happens in the course of business, depending on the client's situation and the way the scope has been described.  I'm guessing massive projects, but, at the end of the day, it's still a fairly small community, like the folks that at Populous and Gensler are some of the other companies?  Gideon D'Arcangelo: Yeah, for sure. It's a tightly-knit world. We have a lot of respect for each other and we cross paths a lot at various, professional crossroads and conferences, that sort of thing.  So how was it to go from a company where you knew what everybody else was doing, and you're of the same mindset to ending up in meetings with civil engineers and people who were experts in water treatment facilities and so on?  Gideon D'Arcangelo: Yeah, great question. I think that it was, first of all, exhilarating and inspiring, and invigorating. All of those things were really great. They were a catalyst for my thinking and what I wanted to do with my practice. I feel that the real part of being a good experience designer is being a good integrator of disciplines and being able to speak the language of multiple disciplines really fluently and so even at ESI, five different disciplines, it was not unusual, but a special mix of different expertise that were brought together. You had hardware people, you had people that knew about onsite construction and physical constructability, but you had people working on UX and UI design, and you had to be able to speak all those different languages, and dropped into Arup, suddenly 50 other languages to learn quickly, and, to really get, but there were many people that were interested in working with these integrated projects. So we have a fantastic lighting design here. We have acousticians of the highest order. We have fantastic AV designers but also even on the engineering side, we'll bring in folks that are working on urban planning. It was really interesting for me to find which folks resonated with what we were talking about. Actually, we did a project in Providence, Rhode Island, where Arup, led the master plan for what was called the unified vision for Downtown Providence. It was one of the early projects that I did here, supporting one of my colleagues in the Boston office, where we took an experienced design approach to planning how to renovate and reinvigorate Downtown, and for that, we were working on a larger scale than I'd ever worked before. It was a whole Downtown district. We're putting experience design interventions into this plan, but we're also looking at the engineering of the site and how to make it ready for public use in a variety of ways. So we worked both on the front end and on the back end, and all the infrastructure was as much a part of our design as the front-end experience pieces. That's what I was looking to do when I came here, and in fact, we did that, and it was a really interesting part of the design. It was so fascinating. We realized after a while that, after our Flood Modelers from the water team took a look at this and saw that the site was really going to be compromised in 50 years. We started to come up with a different design, building bridges, rather than digging tunnels, and a variety of things were done to actually shape the architecture of the site to anticipate the next 100 years and so I was like, that's the kind of thing we can do at Arup with this really highly integrated set of disciplines all under one roof.  Yeah, and that integration, I assume, is absolutely essential that you cannot operate in silos.  Gideon D'Arcangelo: Exactly, and I think that's been my skill, Dave, over the years: I'm a horizontally oriented person, and I'm a good interlocutor or translator. I can quickly pick up a language enough to understand what's critical in that one group and, make sure that constraint maybe is understood by another group that can't quite see it, and that's how I think you get to highly integrated design and make sure basically keep people talking to each other and keep working with each other, because every organization fights with silos because it's just the nature of larger organizations. It can be deadly if that happens, though, right?  Gideon D'Arcangelo: Exactly. It's mission-critical, So Arup is, I think, smart in the fact that we have people that cut across as well, like myself, and I'm not the only one who cut across as well as we have deep expertise in our disciplines.  You can go into an engineering meeting and not be bored to tears or completely confused by what's going on. Gideon D'Arcangelo: No, It's fascinating. It was just wonderful, always intellectually stimulating, and a really, really amazing group of talent here.  I have to say Arup came on my radar because of a post I wrote several weeks ago about JFK and one of the new terminals. I saw that your company was involved in that. Even though you're huge, I'm old and stupid, and I was completely unaware that you guys existed. That was intriguing to me. What were you doing there? And is that a typical project?  Gideon D'Arcangelo: That is a project that I am leading so I can really give you a good view into that, and I think it's an expression of all the things we have just been talking about the integration of multiple parts of a project that might in the past have been thought about as disparate or separate, and since the middle of 2022, Arup has been leading what the client calls the Art Branding and Digital Experience program of JFK New Terminal One and it came about because the Terminal has aspirations to be in the top terminals in the world when it opens in 2026, and it's known that these elements: a proper art program, a proper branding and storytelling program, and digital experience installations are all part of creating a true 21st-century Airport Terminal, and also, this is part of the larger context of the overall upgrade that's happening to all 3 of New York's airports, LaGuardia, JFK and Newark, and some of those new terminals are already online. You may have seen what happened at LaGuardia Terminal B was fantastic, right? I'm a lifelong New Yorker, so I'm benefiting from this.  Arup was deeply involved with Delta LaGuardia Terminal C. In fact, I did some work on that and Newark Terminal A just came online, so a lot of great stuff is happening from here. It's a good time for that, and the Port Authority of New York and New Jersey is leading that effort to really upgrade. And so as part of that, there's a real demand for this art branding and digital experience piece and the idea was that while the architect was making the base building, and Gensler is the base building architect, a fantastic team from Gensler is leading that, the client was looking for one team to give a very integrated passenger experience for you of what that layer was that storytelling and a sense of placemaking was going to be on the architecture and that was going to be delivered through art branding as they called it and digital experience, and so we took on that role at the time, and so we've been leading the vision for that layer and for that storytelling and placemaking piece. Since we started in 2022, we've gone through the strategy and design phases, and as you can imagine, 2026 isn't that far away. We're starting to move from design into production, and it was really key for that to make a strong narrative of what it meant to be coming into the New York airport and what's great about new Terminal One, Dave is, it's the only international terminal at JFK. People who are going to foreign lands are coming from foreign countries. So it's that kind of population coming through, and we had to create an experience really could only happen in New York. It couldn't be that this airport felt like something that was in Orlando or some other place it had to be for people coming from, coming, or New Yorkers departing or coming that it had to be something that could only happen in New York, and it's good that I'm a native New Yorker and I've lived here my whole life. I have a good sense of that. I like to think and we were really helping craft that narrative. We then put together a team to work with us, and so we brought onto our team, Eddie Opara from Pentagram is leading the branding effort. We brought on a wonderful art curator team called CultureCore, who we've worked with in the past, at Arup that is leading the art curation, and then Arup is leading the digital experience design aspect of that, creating a whole set of digital canvases that are integrated into the architecture and a real media architecture style way throughout the terminal experience, both on departures and arrivals, and then a company that you know about we brought on, just last year after about a year into the process we brought Gentilhomme out of Montreal to develop the digital content for those digital canvases. We have a really amazing team that we're working with.  Another cool part of this project is that the client asked us to collaborate with the advertising partner for the terminal, Clear Channel to have this art branding and digital experience program complement what they were doing and work hand in glove, like one experience. I'm happy that our client had the vision to do that, and the teams worked really well together to make something that was really passenger-centric and focused on what passengers needed every step of the way so that they worked together. It's they don't, there's no cacophony or competing for eyeballs and imagery. Instead, they work together because we work together and crafted the program.  How practically would that work in terms of, when you say they're working together, the digital at a home and the experiential art pieces?  Gideon D'Arcangelo: Yeah, there are many examples of that. Simply, we would work through each space and say, where are some of the high-value places where Clear Channel will do what they were doing and take that area, and then right next to that, we might put something that brings you into a New York sense of place, creating a moment, and so we went area by area and again, working together, it was going to really compose it together, I would say, and saying, hey, this area is good for that, and that area is good for that, and so one program came out of that. So that's what I mean.  Okay. So it means you're not running into conflicts around things like sight lines and you can design this in a way that makes sense as opposed to designing a terminal and designing where the experiential digital pieces go and then Chird Channel comes in and say, okay, what's left? Where can I put stuff?  Gideon D'Arcangelo: Exactly, because you know, everyone's important in this program and we did it. What's cool about it, I think, was we took a human-centric or passenger-centric approach to make those decisions and just thought, how can we make a great experience for passengers, and meet all the needs of the advertising program, meet all the needs of the experience design program, and keep it all organized that way. I'm just always curious how companies such as yours invest a lot of time and have a lot of deep conversations with their customers. How do you define experience? Because when I think of an airport, my idea of experience is perhaps different from some others. I'm intrigued by the big experiential art things and LED video walls and so on, because that's what I do. But for me, a great experience is wayfinding and status boards to tell me, “Am I late?” “Am I early?” “Where do I go?” All those sorts of things.  Gideon D'Arcangelo: Those are also critical foundational parts of a quality experience. So that's a great question. I just gave a talk last week to an aviation group, and that's one of the things I said is wayfinding is the foundation of passenger experience design.  It's boring, but it's incredibly important.  Gideon D'Arcangelo: It's critical, and for a geek like myself, it's not even boring and it's just so key, and it's not easy, and it's always being innovated, and in fact, there's a lot of innovation happening with digital in wayfinding now that we're quite involved in, actually, not so much on New Terminal 1 project, but other airport terminals and other places.  The functional experience design has to be right, and that's critical things. I'll just use an aviation example in a terminal. It's crystal clear where you need to go. It's crystal clear how much time it's going to take you and how much time you may have. You might want features on a mobile device that help you understand how you can get on tethered from your gate and roam and shop and eat and do a variety of things before you get on your plane. Those are key, and then there's the more ambient placemaking, sense of place environmental work also.  In this case, what we're doing with the New Terminal 1 is really that second category: creating that sense of place, telling that story, doing something that's all only in New York and doing that through a variety of means. It is that a whole other program is, in fact, happening for New Terminal 1 and one of the things I didn't mention. We also looked really hard at the wayfinding program to make sure that everything we were doing built off of that, too. There's a whole other because you have to pay attention to that functional side. We do work, though, in other environments where our team will get into the functional side as well as the ambient environmental side, because they really need to work together as one.  I guess it changes with every project, but I'm curious, most typically, where does your team start and stop? Or where does Arup start and stop on a typical project? Or is there no such thing as typical?  Gideon D'Arcangelo: There's no such thing as typical, but of course, that's a broad answer because every project is really interesting and unique. No, but we start early. We're a whole life cycle company and we work with our clients that way because we are strategists. Still, we're also builders wearing hard hats on site, making sure that everything got installed according to the strategy and the design, and the big movement right now, in my opinion, Dave, what's happening in the built environment world is the shift from design and construction into operations is getting increasingly smoothed over and thought through in a different way. So, a building was finished, and then people moved in, and there were various tasks like adding other things. “Add” is a term from air operational readiness that air airports used to shift from construction into operations because it has to work on day one; you can't take a few days to get it right. It has to work the moment it opens, you open the door. So there's a whole process, and Arup has that team. We can bring that to our clients as well, because our understanding of the design and construction process and the commissioning process at the very end, as it shifts into operations, gives us expertise in a way to make that as smooth as possible. But beyond that, there is a whole movement of using the tools, the digital tools that you create and design and construction as models that then can be brought through into operations and putting sensors into the building and putting a variety of things into the design of the building, so as you move out of design and construction, you have a digital model of the building that you can help use to operate and maintain and work with facilities management and other teams that are helping that building to operate more efficiently once it's opened. So, the long answer to your question is that we really will start when there's a blank sheet of paper with our clients and help strategize what needs even to happen all the way through. Of course design is our main bread and butter. Of course, we stay on during construction to oversee construction to ensure it's delivered as designed and then increasingly into operations in that whole life cycle. I'm guessing that when your career started, digital was something that was perhaps added on, thought about later in the game, and I'm wondering now, is the visual digital components of big projects are now fundamental to the overall thinking?  Like it's not something that's added on later. They're talking about it right from inception.  Gideon D'Arcangelo: Definitely. It's a good insight, and I've seen that over the course of my now 30-year career to see the shift in that where initially we would have to work hard to convince the clients, even to consider some of these things, and then over time, about 10 years in, you started to see them showing up in a variety of ways and then increasingly they just become, as you say, just part of the program and assumed part of the program. But there's still such a long way to go on that front. And I've always thought that this idea of digital and physical being separate is a design problem of our age.  In a hundred years' time, people will just see that we got through that design problem and just digital permeates everything you do because it's, why wouldn't it? It's a smart way to go, and it's an innovation and human ingenuity and history. So right now there's a lot of work for bringing the digital mindset into every aspect of life, and particularly into the built environment. The built environment has been slow to pick up on this. So construction is really now in this kind of really exciting phase, the virtual design and construction where these digital tools are coming in and taking off, but there's a long way to go. I like to think of Arup as a leader in digital-physical integration, that's a task of our day, digital-physical integration. It's not like digital something off on the side, but then you do it at the end or do it in a box. Instead, you think of it from the very beginning and build it into every aspect of how you design, deliver, and operate the project.  Yeah. I think it's exciting that we're getting very close to a level that LED displays, both physical ones and ones that are embedded in glass, and things like that can now be thought about as building materials that you can use as a wall. Is it necessarily going to be mahogany or travertine tile or whatever. It can be like LEDs that can be changeable when as much as they need to be changeable.  Gideon D'Arcangelo: Absolutely. I worked with Michael Schneider when he was at ESI, with me. We often talked about that as we talked about media architecture as that was an emerging term in the field. One of the things I really am grateful for working with ESI was the idea that media wasn't something that you attach to an environment in creating an interactive environment, you actually were working with this audio-visual material as you say, that becomes part of the architecture, and what's interesting about that though is then the client for that gets confusing because if you're putting in travertine or mahogany, you're talking to one side of the client, the design and construction folks. As soon as you put a dynamic piece of media in, who are you talking to? You're talking to that same client who's responsible for building that space. But suddenly you're also talking to the director of communications and the director of marketing and the storytelling people of the company. And that was something that I've always seen about this field. You needed to be able to talk to storytellers. That would be your CMOs, your directors of communications, your chief communication officers, as much as you could talk to the the head of real estate, that's building something. Where it worked well, you got leadership from both sides on the client that really understood what you were doing. As you put this material into the building, there's still the question of what it's doing. What story is it telling? Who's maintaining it over time? What's the content strategy? And that's what made it really exciting because it's different from putting a static tile on the wall. As soon as you put a media, an LED tile on the wall, it has a whole different governance aspect to it that is very modern, and I think now it is becoming standard. People expect that in their buildings.  All right. That was terrific. I know a lot more about Arup than I certainly did half an hour ago, and I suspect it'll be the same for a lot of listeners. Gideon D'Arcangelo: That's great. Thank you, Dave.  I appreciate your time.  Gideon D'Arcangelo: Likewise. Great to talk with you.

India's population is young, health-conscious and growing. Despite some recent diplomatic tensions, a new trade agreement has meant its increasingly easier to do business there, and demand is rising for Australian food and fibre. So how can Queensland's farmers get the most out of India?

Part science, part magic, a great atmosphere is a quality attributed to all the world's most iconic sports and entertainment venues, regardless of their location or use. In this episode of Populous' podcast, we sit down with three of the practice's leading seating bowl designers to explore how this highly specialised discipline helps transform stadiums and arenas into incredible containers of emotion that keep fans coming back time and time again.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT There's been a steady stream of announcements in the past couple of years about new sports and entertainment venues going up in the US and elsewhere, and one of the notable attributes about these developments is that they are not just stadiums and arenas - they're big commercial developments anchored by that kind of building but surrounded by retail, residential and infrastructure. They're sprawling, at times, and with that, not necessarily easy to navigate and use. An Australian software company called PAM has a tag line about transforming complex spaces into loved places, and it does that mainly through what people in digital signage would call wayfinding. But there's more going on with PAM than just maps. The company blends that base capability with a digital signage CMS, mobile, analytics, and integrations with business systems, including Ticketmaster. It also intertwines all these components so that they're reactive, with data from one component informing another. The company already has some big name, high profile clients and venues to reference, including SoFi Stadium in LA and the F1 circuit for Las Vegas. Robert Johnson is VP Sales for North America for the company, and he has a deep background in both wayfinding and digital signage. He got into the sector years ago, in the early days of Four Winds Interactive, and I've known him for ages now. So it was great to learn about PAM, but also just great to catch up. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Robert, great to catch up with you. I haven't seen you in years.  Robert Johnson: Likewise, Dave, it has been a while, and we go way back and it's great to reconnect with you.  I knew you from your time at Four Winds Interactive, where we were involved in a couple of pretty big deals. I was on the consulting side, and you were on the sales side when you were doing sales for that company. Could you give a background on your journey in digital signage?  Robert Johnson: Yeah, happy to, and you nailed it right there. You and I had a really exciting, fun opportunity to work on a couple of very large enterprise projects with some big names, great folks, and great clients and yeah, you and I cut our teeth together. That's where our relationship really spawned, but yeah, I was really fortunate, I got to start working with Four Winds Interactive when they were very quite small. I think when I started, there were somewhere between 25, and no more than 45 employees there. Were they still in the house or had they moved out by then?  Robert Johnson: Yeah, I was in the original mansion, the Parkside Mansion, right off of City Park in Denver, Colorado, and that was a trip. They had weddings on the weekends and we sold software during the weekdays in there until we had to break down our desks. But that was a startup life right there.  Looking back is interesting because that was 16 years ago when I took that job with them and looking back, there's a piece of me that says that you can make a Netflix story about the rise of the software company because the economy was crap, it was 2007-2009, and the housing market crashed. I remember my parents asking me like, how do you have a job? How was the company doing?  What on earth is digital signage?  Robert Johnson: Why are people spending money on digital signage? And I remember telling my parents, I was young, I was in my 20s and I was like, mom, dad, this is amazing. People are buying this left and right. It was the kind of product that if you could just demo it and talk about it, you were selling it.  I was fortunate that I got to move up in the ranks and work on a lot of large enterprise deals, selling very complex digital signage solutions with incredible integrations to Delta Airlines and JetBlue Airlines, Toyota, Lexus, Mazda, Staples, just massive digital signage implementations and yeah, we had lots of integrators and hardware involved and it was a ride, man. It was awesome.  So as it happens, people move on and you went to a new company but could you tell me what they were doing?  Robert Johnson: The connection is this: In the world of digital signage, I joke and say, I sold TVs for a decade, but on the TVs, on the screens, you're selling communications platforms, employee communications platforms, retail solutions, touchscreens, and wayfinding. Wayfinding has been a part of my life for a long time. We sold many wayfinding solutions, helping guests navigate stores, retail, malls, airports, and other places. I then moved to a company called Concept3D, which when I started, only had one product: a mapping product, but no signage, and for me, that was a breath of fresh air. I was able to eliminate all the hardware complexities because hardware fails, PCs and displays fail, turn on, turn off, and get vandalized, and for me, this was amazing. I could sell wayfinding without having to implement any hardware, and they have a phenomenal platform, but then their main focus was or is higher education and I was brought on to try to sell into enterprise solutions, and we had a few good deals in there, but then COVID hit and we launched another product for virtual tours and we did a bunch of other things in there. So they actually have five products now, all heavily focused on higher education, but the wayfinding piece always stuck around. We sold maps to anybody who wanted to visualize their space and anybody who wanted to enhance their space. If you're on a college campus and campuses are huge, they're square miles large, and so you need to navigate those environments.  Easy to get lost in them.  Robert Johnson: It's easy to get lost, and a lot of faculty, students, guests, and parents are frustrated trying to make that experience better, and so that was the plug.  So you were with that company and then I think you went on a hiatus or something, and now you're with a company called PAM. Robert Johnson: PAM, yeah, and this is not the cooking spray company. It's not spam. It's not Pam. Funny enough, and this is like an accident, but PAM is actually the word, map, spelled backwards.  Oh, okay. I was trying to figure out what an acronym was. Robert Johnson: Yeah, but that was not intentional. We actually had a customer bring it to our attention. Did you know that PAM is MAP backward? Anyway, it's Project Asset Management. That's actually what it stands for.  But PAM is really unique because it combines the last 16 years of my life into this amazing software platform that has been in development for the last seven years, and so we're still in the ramp-up phase, the startup phase. We're not quite a startup. We're in a kind of launch phase right now in terms of our trajectory with adding clients and growth, but they do a couple of things. We have a digital signage component where we power hundreds and hundreds of screens for large entertainment districts, sporting facilities, stadiums, and arenas and we specialize in interactive wayfinding.  We don't go to market as really either one of those. We go to market as a smart navigation platform helping cities, visitors, bureaus, and entertainment districts have a more frictionless, guest experience, and as in your world, Dave, the frictionless experience can be anything from how do you get parking? How do you find something? How do you get information on screens or your mobile device? We touch a lot of different communication mediums. It's a perfect fit for me. I've been there for two months now, and it's just been super exciting.  Were you looking around, or did they come to you?  Robert Johnson: A little bit of both out there when you've been in the space for a while, as we chatted before, you get approached by people, and certain things become a fit and, every day on my, on LinkedIn and stuff, I'd probably get hit up by a recruiter every day for something, or you get someone reaching out to you. So yeah, this just came across my plate. We chatted and chatted for a while. It wasn't one of those light switch things where you just turn on and jump ship. When you're our age, my age, your age, everything's pretty calculated at that point.  We're not our age. 'cause I'm way older than you.  Robert Johnson: Yeah, you're older than me.  I could be your father.  Robert Johnson: Fair enough.  I could even be your grandfather.  Robert Johnson: Yeah, wife, kids, all that stuff, and play, and I'm never just like making a brash decision to just jump because the technology is cool but yeah, it was a calculated decision, but once I got to dig into the software and see what these guys are about. Hindsight's 2020 and I'm just super, super glad I made the change.  This is an Australian company?  Robert Johnson: They are headquartered in Sydney but have an office in LA. Right now, I'm heading up the North American sales efforts, and they are very, very, hyper-focused on sports and entertainment districts. So yeah, we are taking a smart city, smart district approach.  It doesn't really happen as much in Canada because it's much, much smaller, but from what I can tell, any new sports venue that goes up is not just an arena, it's a district with residential, retail, dining, hotels, the whole nine yards. Robert Johnson: Yeah, you nailed it. Like I joke and tell teens, yeah, you might be on a football team or a baseball or basketball or hockey team, that's fine. But you're actually in the business of pro entertainment. You just happen to have a hockey team associated with you or a basketball team associated with you and if you're football, you only have 8-10 home games a year. If you're basketball, you've got 40 and hockey 40, but there's another 200 to 300 days a year that you need to be putting on events.  So if you Google, there are 200 stadiums currently being built, planned to be built, and contracted to be built in the next 24 to 36 months and if you just follow a few of the blogs online every week, every month, there's a new stadium that's being announced or a new district that's being announced to be built, and all of these are now very integrated in the city. They're very much funded by voters and the city council and the visitors bureaus. It's a fully integrated approach these days.  I would imagine they pretty much have to say this is a commercial property development, and not just a stadium for that very reason, with the exception, maybe, Texas, where there are high school football stadiums that will see 20,000.  Most cities don't want to spend 200 million or whatever the number is on something that's only going to get a handful of days of use. they really need to justify that. This is going to create a whole bunch of other jobs.  Robert Johnson: Yeah. Nowadays, when a stadium is being built, they look at the entire infrastructure. Do we need to bring internet lines? Where's transit? Where's the parking? Where's the bus situation? If that stuff isn't considered, then the project just won't happen. It's a fully integrated approach, and there are Oakview Group, Legends, and Populous, and there are these massive architects and developers out there who are building these for them, they're managing these event centers and stadiums for the teams and the cities, and it's a huge business.  That's actually the way that PAM approaches the market. We go one to one and we sell our software and platform to the teams and the arenas. But we also are working the angle very heavily with the architects, and so we're talking to these projects right when they're breaking ground years ahead of time.  Yeah, I assume that what's important to them is that they may understand they're going to have digital signage, directories, and some degree of wayfinding, but they don't want a gallery of different technology providers to do it for them. They would likely greatly prefer that there's one service provider that can do the screens but can also do the wayfinding, the phone app for navigation, and everything else, right?  Robert Johnson: Yeah, a hundred percent. We work with Gable and we work with Daktronics. We work with ABI SPL, the tech providers so that when ABI SPL is recommending a solution, that way they have one wayfinding provider that's for mobile, that's for web, that's for the digital signage, and when they would need to make an update and communicate… I use this example on some of my calls, I don't know if a year or two ago, Dave, you were up in this area, the Buffalo Bills at the end of one of the games had a massive brawl and there was a fight, and that's like an incident, right? So immediately safety, security, and people like that are trying to get involved, and if you need to communicate to 50,000 people leaving the event that there was an incident taking place, you don't want to update your text message provider, your mobile provider, your web provider, or get on the phone with your web management team security. You want to be able to go into one place and update. All your digital signage, all your communications, your mobile, everything with a click of a button, and that's the kind of stuff that we have the capability of doing. Just as an example, there are so many other things. Another cool thing that our software does when you think about planning and working with these different technology solutions is we have this really amazing data analytics platform where if there's an event happening on a Saturday, we can then show you this heat map that actually shows you all the dead zones. So if there's a dead zone on the South side of the entry and there's no internet right there, we'll actually be able to show you on the heat map that shows, as somebody was walking, there's a dead zone here and you may want to actually put additional, WiFi connections or routers or enhance the call-up Verizon or AT&T, your provider because there's a dead zone right there. So, our platform has the ability to do all these different things, which makes it really unique, and again, one of the reasons I'm grateful to be here.  Does the fact that you're working with stuff that's going to be on mobile phones as well, give you some sense of analytics as well, in terms of how people move around those kinds of spaces? Robert Johnson: Yeah, that's one of our value propositions, which is the ability to provide data crowd management so that you can make a better decision. So think about this: I live in Golden, and I'm actually going to do one of the playoff games on Monday with my wife. We're going to go to the Denver Nuggets game. If I open up the Denver Nuggets app and I get a no before you go message, and it's, hey Robert, you have prepaid parking at this lot over here, and I pull up my app and I use the PMA app to get there. The PAM app will then show that Robert Johnson because I'm logged into the, I got my profile set up with the Nuggets. It'll say that, Robert left his house in Golden via car, or Robert got on the train, went to Union Station, and got there. The team can then take that information back and say, look, you had 18,000 people at a sold-out game, and 4,000 of them took transit, they took a train to the game. You can take that back to your sponsors and your advertisers and Lexus and Toyota and those guys and say, look, you need to be advertising between the hours of five and six o'clock to all the people coming to the game and letting them know about the merchandise, food, beverage, coupons, parking, all of these things. So yeah, our platform can give that data to the team so they can make literal, actual business decisions that drive revenue and sponsorship revenue and value to their sponsors. It's really cool. I have been in the wayfinding space for 16 years, and none of the companies I've seen have the ability to do that. Yeah, I've always liked wayfinding, but the challenge I've always had with the stuff that you find on touch displays in shopping malls and so on is that you look up what you want, and it'll show you how to get there, but then you walk 10 paces and you can't remember where to turn or anything else. The next step is to put it on a phone, which gives you a little bit more, but it still seems a little disjointed from the rest of what goes on in a big space.  Robert Johnson: You'll like this, Dave, and I think you can probably validate it, as we're the only mapping platform that integrates with Ticketmaster and Ticketmaster Ignite. So again, using that mobile example, if I'm leaving the Nuggets game and I just had an amazing time and there's another game because there will be another playoff game. If I'm like, honey, let's do it, let's buy the tickets for Wednesday night's game. Right there. I can do that transaction, and if it starts on the map and I say, yeah, I want to buy tickets right here and get my parking, we can follow that journey, go back to the Nuggets at the end of the game, and say, look, you had 4,000 people buy tickets, and their journey started on the map.  There goes 600 bucks.  Robert Johnson: Exactly, there goes 600 bucks. But, like that's the thing that I, as a sales guy and sales professional, have always wanted to go back to my clients with and say, look, the map is generating revenue. We can see that people scan these hotdog coupons. We can see where people came from. You can go back to your sponsors. All of this and more, Dave, just makes PAM; it's the belief inside me that knows that PAM is going somewhere pretty spectacular in this space.  Yeah, I'm sure that, some of the entertainment districts and so on that look at this, and say, the experiential side is very nice that this helps people get around, but if you can take another couple of hops and say, and it'll generate incremental revenue for you or boost the average attendee profile in terms of what they buy and so on, then that gets them a lot more interested. Robert Johnson: It goes from a map turning into a really nice thing to have to, hey, this is something we really need and it provides value and impact.  So you mentioned that the company is ramping up, but I'm looking at the website and I don't want to rattle off names in case they're not accurate, but you're deployed in some fairly significant familiar areas, right? Robert Johnson: Yeah, I'd say the company has really been fortunate in the last 24 months. The Australian Open was massive. It covers a huge ground in Melbourne, where the city is almost shut down for that event. Hundreds of thousands of people come in. We've been contracted with SoFi Stadium since the stadium's inception and went live. That's the big one in LA for people who might not know that.  Robert Johnson: Yeah, they've got the Rams and the Chargers playing out of that stadium. Plus, it's a venue that hosts FIFA and the Super Bowl. I didn't realize this until a couple of months ago. The Super Bowl was just there, and the Super Bowl was the highest revenue-generating Super Bowl in the history of the Super Bowls because of the capacity and the venue drove so much revenue; the Super Bowl is going to be back there, not this season, but the following season. It is not normal to have back-to-back Super Bowls within two or three years of one another at the same facility. And yeah, we're powering the navigation experience for that as well. Our relationship with Formula One is super strong. We just knocked it out of the park with Las Vegas, and yeah, before this call this morning, I just had a call across the world with another Formula One venue because of our relationship with Vegas. So yeah, it's been a gift. I appreciate that you kept on giving.  Yeah. Let's talk about Vegas because that's an interesting one in that it's a facility that's built for three to four days as opposed to a fixed venue that, if you like, you might go repeatedly. If you're a season ticket holder, you know your way around. But with this, everything was somewhat temporary, with the exception of the PADEX. How did it manifest itself? What would be the PAM experience if I went to that I wouldn't because I just wouldn't want to deal with all the crowds,  Robert Johnson: Yeah, you nailed it. There are a couple of them out there. Miami is similar to Vegas because it's a semi-temporary structure. There are now some permanent structures at both venues, but there are a few of them out there, in the world, but yeah, Vegas, in particular, was really unique, and they had a lot of challenges that they were very proactive in trying to solve this. You had to walk through Caesars Palace. You had to walk through the Bellagio. You had to walk through some of these hotels to navigate to your seat, to your area, maybe the party, or the venue that you needed to get to.  I didn't have the ability to attend the event, but I know, for example, the Formula One Las Vegas hat sold out. It's an interesting fact that they didn't make enough. They didn't realize that, but that was the one piece of apparel that everybody wanted to buy.  Probably because it was the one thing they could afford.  Robert Johnson: It's the one thing that they could afford, but everyone wanted to walk away and wear their Formula One hat, and as a takeaway for the event, they're like, okay, we need to put more hats around, we need to allow people to buy this apparel easier, we need to help people get to those locations easier.  I think you'll find this interesting too, Dave. I talked a little bit about the data, the heat maps, and the journey maps that we provided a second ago. That was a huge win for Formula One and the casinos. We were able to go back and show them. I'm going to make the numbers up because I don't have them in front of me, but let's say throughout the weekend, 50,000 people needed to navigate through the Bellagio or the Caesars Hotel to get from point A to point B, and we showed it, we could visually show them people were going and why they were going there and what the places they searched for. But because it was the race's first time, we didn't do any interiors for the Bellagio or Caesars. We just had the exterior of the building.  So now we've contracted with those properties to do the interiors so people can more easily navigate those facilities and get to where they need to go because they were like, we spent way too long trying to get through this hotel. We didn't know how to get through.  Yeah, and Las Vegas is a textbook example of where navigation is incredibly valuable. I've been to Las Vegas 40+ times, and if I go into something like Caesars, I'm going to get lost. There are no straight lines.  Robert Johnson: Yeah, there's no straight lines at all. Our integration with Ticketmaster also played big into that one as well, again, if you're Dave and you bought a pass for you're going to be sitting at Turn 12, you're going to have parking around Turn 12. Your entrance is only going to be at Turn 12, and so when you want to scan your QR code or you want to get directions, our integration is going to say, we know Dave, bought parking here. We know he's staying at this hotel. We're going to get him to his property. Again, that integration with Ticketmaster was a really big value-added feature for the curated content experience.  So, how does the digital signage component work? Typically with a wayfinding application. It's a file that's going to sit in a digital signage schedule and that's how the two kind of sync up with each other. but I'm thinking it's probably a little different here.  Robert Johnson: Yeah, it is a little bit different. As you would expect, we have a content management system that allows us to manage the content on the map and the digital signage as well and so if you have a non-interactive sign, we can control the content on there. We can control the content if you have an LED parking sign. But there's a connection between the two, an integration between the two, where if parking lot G gets filled up, we can say it's full, and we're going to go ahead and let the digital sign or the LED board say it's full. We're also going to provide that update on the map as well or the interactive kiosk so that all of that content is married up into one kind of seamless user interface.  So it's all integrated as opposed to, I'm going to do something with the mobile app and the wayfinding component of this, then I'm going to back right out of that and then launch the digital signage piece and do other things. Robert Johnson: Yeah, exactly. The name of that platform with the digital signage is called 360 Live. That's what we call it. It's like a full 360 experience, but that's the idea. You don't have to go into two or three different systems. We don't have multiple content management systems. We've got one that has its parking application. We've got one that just handles navigation. We've got one that handles the digital signage, but when you make an update on one, it updates across all of them. You mentioned Daktronics and Gable. I'm assuming you guys avoid the hardware side of it. Robert Johnson: Yes, thank goodness. We do. I would have nightmares if I had to get back into the hardware game. So yeah, we work with those guys to partner with them on the hardware piece.  So is it something that you license via SaaS, or is it an on-prem thing?  Robert Johnson: Yeah, it is SaaS. We're a software as a service company. We have managed services as well, but yeah, like a lot of companies nowadays, we have an ongoing recurring annual software fee that includes software support, maintenance updates, all the features we roll out. We've got initial set up fees for us to build out the beautiful artwork set things up and get it integrated. but once it's up and running, our clients can manage it on their own.  Formula One's done a great job of that. SoFi has done a great job of that. But a lot of these teams have really small marketing teams, and they rely pretty heavily on their vendors and so we do a lot of hands-on management of their applications for them.  We've known each other for a long time. One thing that I've noticed on LinkedIn in the last, I don't know, two or three years is a lot of posts by you about something called the Robert Johnson project, and it seems like you've been on something of a personal journey and the undertone of, it seems to be that you realized I was working my ass off and maybe not paying enough attention to my family.  Robert Johnson: You nailed it, Dave. You really did, and that probably just comes from years of experience that you have ahead of me. I've always been big in professional development and training and things like that and I started working very closely with a coach and coach, Townsend Wardlaw. I don't, Townsend Wardlaw. A good friend of mine, who I have known for 20 years, came back into my life, and yeah, I spent a lot of time working with him, I used to think that the number one thing in my life was work and success and money and getting up the food chain and I did a lot of that and I, and there was a kind of a cost to it, and the cost was a lot of travel. What you and I did together on occasion, a lot of it was late nights and dinners and president's club and all that stuff was awesome.  I had two kids while I did all that, and man, it's tough because without having done all that, I wouldn't be the person I am, and I wouldn't have a lot of the success maybe that I've had, but I pumped the brakes as I got close to 40. I joke, Dave, and I say I could write a book called 38-39-40, and when I was about 38, this all kind of came to a head, and I realized, the number one thing in my life is my kids, my wife, then sales and me. If I can work on all those things and put my family ahead of everything else, everything else will follow, and I'll still be able to have a really successful life. Yeah, I posted a lot about that on LinkedIn, and I still do occasionally because it's a big part of what I'm doing. Now when I think about LinkedIn, I've got three kinds of things or passions, and one is my life. One is sales. I love posting about just sales, and then one is PAM and those are like the three buckets of things I enjoy talking about and posting about, and I don't have to try to do it. It just comes out naturally. So a lot of people have that journey and realize, you know what, I need to pay more attention to my family and not be so obsessed with work, but they don't call it a project, and they don't put it up on LinkedIn. That's not a criticism in any way. I'm just saying I'm curious why you did that.  Robert Johnson: Wow. Why did I do it? Everyone's different, but for me, when you say something, you hear it, and you put it out there, it just becomes real. It becomes really tangible and real, and it becomes something that you live by, you wake up, and you know it is there, and you can come back to it every time something bad happens, you have a bad day, or if something didn't go the way you wanted it to. When you go back to what your purpose is… I have a purpose and my purpose, it goes, actually goes in this order. I misstated earlier, but it's my wife, it's my kids, it's me and it's sales. Those four things are my purpose on LinkedIn. I've got another mission statement, and it's to connect with, motivate, and inspire as many people as possible. I come back to those things. If anybody asks, what are you doing on LinkedIn? And I said, look, I just. I just want to connect with people. Why do you want to connect with people? I want to see, if maybe I can motivate somebody. Maybe I can help somebody. Maybe I can inspire somebody. It hasn't been quite two years, Dave. I started my journey. It was like September, almost 18 months ago, and man, I helped a friend. I said, now she's a friend, a woman at the time who really wanted to get into Formula One, and I made a couple of introductions, and literally about four months after I made some introductions to her, she was on a plane to the UK and gave a live in-person talk about UX and UI design to Silverstone. And that's inspirational and motivational to me and it all started with a connection, and LinkedIn serves a lot of purposes. That stuff just makes it exciting and fun, and I'm going to keep doing it as long as it's still exciting and fun.  As you know, running a podcast and stuff can sometimes feel like work, and when it becomes work, and it becomes really hard, and it's not fun anymore, I'm sure that you would probably just turn it off and walk away if it became really painful and crappy.  All right, Robert. You talked about connecting, and it was great reconnecting with you. We need to stay in touch more. Robert Johnson: Yeah, Dave, really appreciate the reconnect here. This has been great, man. I'm just so happy for you with your business and everything you got going on and, yeah, thanks again for having me on. 

Hampered by insufficient infrastructure, famous musicians would often leave India out of their world tours. But the country's massive, young population makes it a potentially lucrative market, and more musicians are opting to stop and perform there. Thanks to increased investment, it seems India's live music industry is primed to take off. Also on the program: betting on skee ball and a look at fresh payroll data.

Hampered by insufficient infrastructure, famous musicians would often leave India out of their world tours. But the country's massive, young population makes it a potentially lucrative market, and more musicians are opting to stop and perform there. Thanks to increased investment, it seems India's live music industry is primed to take off. Also on the program: betting on skee ball and a look at fresh payroll data.

Welcome to Dev Game Club, where this week we begin a new series on 1997's Final Fantasy Tactics, which took the series into a new genre. We talk about the game's presentation, basics, and technology as well as how the game begins. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: First few battles Issues covered: finals fantasies, 1997 in games, testing various games, placing us in that time, a surprising departure in the series, TTRPGs and being "like chess," translating a genre to the PS1, closer combat/smaller spaces, opacity, not remembering the game well, the Zodiac, some other series, a niche genre, limited input options and menus, Ivalice and medieval setting, a deeper simulated system than FF combat generally has, translating well to the genre, the opening cinematics, preferring alignment of story with general engine use, developing technology to stream video, in-game stuff holding up better, getting the leverage from sprites, the diorama look, merging gameplay with non-interactive content, pre-rendered rewards, terrain rendering and spinning the camera, the close-in space vs larger areas and fog of war, elevation and abilities, map differentiation for visuals and challenge, the game over screen, modern engagement. Games, people, and influences mentioned or discussed: Vagrant Story, Final Fantasy (series), Johnny "Pockets", GoldenEye, Diablo, Fallout, Castlevania: SotN, The Last Express, FF 7, Curse of Monkey Island, Grand Theft Auto, JK: Dark Forces 2, Myth: The Fallen Lords, Ultima Online, Outlaws, XvT, Starfox 64, Quake 2, Blade Runner, Dungeon Keeper, Age of Empires, Riven, Gran Turismo, Interstate '76, Populous, LucasArts, MechWarrior, Ogre Battles (series), SNES, Quest Corporation, Hironobu Sakaguchi, Chris Hockabout, Chris Corry, X-COM (series), Mario/Rabbids (series), Fire Emblem (series), Mark Garcia, Disgaea (series), Anachronox, Front Mission (series), Shining Force (series), Vandal Hearts (series), Valkyria Chronicles, Mass Effect (series), Star Wars, Blizzard, Ghost of Tsushima, Horizon: Forbidden West, God of War, The Sims, Vagrant Story, Metal Gear Solid, Axis and Allies, Kirk Hamilton, Aaron Evers. Next time: More battles! Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @devgameclub Discord DevGameClub@gmail.com

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT When I first spoke with Jonathan Labbee about the grand-scale media facades and displays being produced by SACO Technologies, the Sphere in Las Vegas was just yet another over-the-top  thing rising up from the desert sands. Two years on, and a few months after the giant LED ball was first switched on, the Sphere is probably the most discussed and photographed digital display on the planet. So I was very happy that Labbee was willing to carve out some time to talk about some of the technical details behind the display side of that project, and more broadly what it has meant for the Montreal company, and for the concept of buildings as media facades and visual attractions. In this podcast, we get into some of the technical challenges and innovations associated with putting together both the attention-getting outside exosphere of the building, but also the mind-wobbling 9mm pitch curved display inside. We also talk about the larger business, and the opportunities and challenges of turning big structures into experiential digital displays. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Jon, thanks for joining me. It's been a couple of years, but a lot has gone on with your company, and obviously, the big thing is its involvement in the Las Vegas Sphere.  I know we can't spend all of our time talking about that, nor do I want to, but I would imagine your company's work on that has kind of rocked the industry  Jonathan Labbee: It has, and thanks for having me back, Dave. The sphere has been an incredible journey for us. I think two years ago when we last spoke, we were just about to start on our part of the construction, and we successfully delivered that project, which is, I think there were a lot of people and projects that were in the waiting to see if something of this magnitude could be pulled off successfully and now that it has, it has awoken a new level of giant projects around the world. I'm gonna say mostly in the Middle East at this moment in time. Why is that? Is it just about money, or is it also about things like zoning controls and available space? Jonathan Labbee: Well, I mean, obviously, money and budget are always a concern, but I think when you get past the level of installing a giant television on the side of a building and where the building itself is a media medium, but the infrastructure to support that is so significant in your construction budget, I think this is one of the key aspects for these developers and these architects to understand if it could successfully be done.  Now from a zoning perspective, I think that a project like the Sphere is quite revealing in the sense of how much control you have over brightness and the type of and quality of the content and secures the knowledge that a responsible owner can display tasteful content in the environment that it's designed to be in. I know that there was a proposal to do a similar project in the east end of London and that doesn't seem to be going ahead, at least at the moment, and it struck me as one of the barriers to it was simply that you're putting up a very bright object within reasonably close proximity to residential and that's a challenge. Jonathan Labbee: Yeah, it is. I'm not a politician by any means, but I do think there's some politics there and also maybe some fear of new technology that could potentially be disruptive if used irresponsibly. Normally, people who spend this amount of money on a venue tend to have a very secure plan to fit within their environment. So what was done for the Sphere was custom. Could you relate what was done on the outside and then on the inside? The inside is particularly interesting to me because your company's pedigree is not so much on fine-pitch large displays other than for touring acts, which are not as fine a pitch. Jonathan Labbee: Well, yeah, so it's actually pretty interesting that this seems to be our persona; the reality is that most of our development is done on fine-pitch products. We just happen to have been doing quite a bit of low-res or wide-pitch products because we've been doing so many iconic buildings, it seems to be what we're known for.  But if you take, for example, a lot of the touring acts or some of the video screens that we did for Orlando airport, for example, those are 2 millimeters pixel pitch and all these types of things.  So if we go back to the Sphere, the exterior of the sphere, referred to as the exosphere, is made up of these pucks, I would say, that have 48 LEDs, and each one of these pucks is a pixel that is controllable for the client, and that's what gives you that beautiful imagery on the building, and it also has an aesthetic that the architects wanted and the client wanted, where it allows you to see through and see the base building through the exosphere. So, the performance criteria for the exterior was one thing, whereas the performance criteria for the interior were completely different. It needed to be audio transparent because if you go to the Sphere, there are absolutely no speakers or any kind of disruption, and on the media plane, everything is behind the screen. So it gives you a very pure environment.  The screen itself is nominal nine millimeters, but it is 16K x 16 K resolution, and because of the distance, everything just works when you're inside of that environment, you feel like you're wherever the artist or content creator decides that you're going to be. So, if you're on Mars or another part of the planet, you feel like you're there.  For the exosphere, because this had not really ever been done or certainly not done very often, was there an engineering thought process about how we make this work? Will it work? What are the sight lines, all that sort of stuff? Jonathan Labbee: Oh, yes. And as much as I want to take a lot of credit for this, it was definitely a collective effort. First of all, we're dealing with a very sophisticated client that has a lot of knowledge and capabilities, the same goes for the architects and all the other trades that were involved. So we had the opportunity to work with an expanded group of people that had a lot of knowledge and capability to visualize these types of things, and we have done mock up over mock up. So it's not just, oh, let's think about it and build it. It was:  Let's think about it. Let's prototype it. Let's prove it. Let's adapt to it. Let's modify it, and eventually through the process of iteration, you end up with something that is functional for that particular mission.  So, what was the big moment like? I think it was July of last year, or maybe a bit earlier when you first turned it on. Were their fingers crossed, or was it a big aha?  Jonathan Labbee: Well, I can tell you when the client first turned on that exosphere, I think it was like a huge wow moment for everybody, including ourselves, it was spectacular, and then when we had the chance of going to the opening for you to for the interior, which was, the end of September, that, I gotta tell you, was pretty emotional. I don't think that any one of us could have imagined what it would look like in its finished format.  Yeah, because you've done some grand scale indoor stuff for touring acts stadiums, and so on, which are pretty big ass screens, but nothing along these lines, right?  Jonathan Labbee: Nope, there is, actually, nothing on earth and in our industry that exists at this level of magnitude. And again, we've been working on this for 5 years, and we see it in sections, and we see the whole master plan. We see all this stuff on computer screens or in real life as mock-ups. But when you see the finished scale on the interior, it is mind-boggling.  How do you service something like that? Is this just like man lifts or lord knows what?  Jonathan Labbee: Well, the venue is obviously designed with service capability. I mean, at the end of the day, how do you eat an elephant? It is basically one bite at a time, and it's pretty much what this is. I mean, it's a lot of the same type of stuff. So everything is broken down into sections and if you have a problem, you need to go to service. If you want to go look at something, you have access to that section in a particular fashion, and then you have access to the screen, and you can do whatever you need to do. I'm curious as well about some of the meat potato stuff, like video servers.  How do you develop something that can control that many LED modules and make it all addressable? When you went to your technical partners on that, was it a big, “Oh, boy, how do we do that?” Or was it, " Okay, we know how we could do that?”  Jonathan Labbee: Yeah, I think, I think it was more of a “yeah, we know how we can do that because our video processors are scalable in nature.” They technically don't have a limit, but then again, it's not just our stuff that needs to function. It's everything up and down the chain. So, we control everything from the video processor to the video screen. But everything upstream from us also has to function, and Here Against Here Studios, or MSG, design and create their very own control room with all of the workflow to function. So, from beginning to end, they have full control over the quality of the signal. What about the creative?  I assume that producing this stuff requires a certain set of skills and experience, which is very helpful. Is it hard to do, or do you kind of get instructions on what to do, and then you make it happen?  Jonathan Labbee: Yeah, my understanding is that the Sphere studios put together some templating and also offers its own production services to clients to make producing content much easier. So people are not just thrown into the project. They're helped all along the way.  One of the things that impressed me about the project is the type of content that's showing up on there that I think I, like millions of other people never would have even thought of. Have you been surprised by it?  Jonathan Labbee: Yeah. I have to say those guys have done an incredible job of coming up with some very interesting and creative ways of making that sphere look amazing, and you really never get tired of looking at it. I mean it's populating my Instagram feed and probably everybody else's. It's just incredible what they're able to put on there, and I think that they've been very clever in getting collaborations from different types of artists and collaborators.  When I was through Las Vegas late last year, I made a point of walking all the way over to the Sphere. I wanted to see what it looked like up close, and I have an industry friend who did the same, and it's this weird sensation of, now I see how this works and what the technology looks like up close, but it was almost like, that's something you shouldn't do. You really need to see this from a distance.  Jonathan Labbee: Yeah, and it was designed to be seen from a distance, but I think that it's very interesting. I can't say that this was planned in this way, but I mean, obviously, we're looking for performance criteria. So we designed around that, and a certain aesthetic, and probably the architects have thought about this, but as you approach the building and you start seeing how things are put together, there's a sense of revelation that you get when you approach the building, and it becomes even more personable to you. I thought that was pretty interesting because I had a similar experience when I went there for the first time. So what has this spawned? Do you have commercial property developers coming to you, resort operators? Who seems most inspired by this?  Jonathan Labbee: Well, yeah, I would say that the Sphere certainly awoke a new level of clients and types of projects. We normally work with the architects, so the architects who represent the owners and the property developers are coming to us with more and more intricate and large projects, which is super fun because not only do we develop technology, but we've designed an entire workflow, and toolset in order to design and efficiently manufacture and install and run these types of projects. Yes, I mean, we're getting large resorts in the Middle East right now, which is in a big flux of change, especially in Saudi Arabia. So there are a lot of these giga projects or mega projects spawning all over the place, and we're getting a lot of inquiries on that side, which is great.  Are they serious?  Sometimes, you see these magic mega projects in other jurisdictions, and there's a lot of PR noise around it, but nothing ever happens. But I suspect because some of these are funded directly by the Saudi government through PIF or whatever, they're going to happen. Jonathan Labbee: Yeah, I think in the past, it was maybe a bit more true that there were kind of these big dreams, and then they would just never materialize, but I think things have changed a lot in the region, where projects are actually getting built. There seems to be a big sense of change in the entire region. Dubai and Abu Dhabi, and that part of the world, continue to be very strong for us as well. So we're lucky that we're already out there and have delivered successful anchor projects.  What is involved in doing these? Is this like a three or five-year project? Jonathan Labbee: I would say that normally this would have been a three year project. Obviously the pandemic happened, which no one had anticipated, which drove all sorts of additional complexities in time. But I would say that a project like this, I believe originally had like a three year type of timeframe, and any mega project would have roughly the same type of timeframe.  One of the things that's interesting to me is, as we were discussing before, that maybe people don't know the full scope of what your company does. I didn't realize you had off-the-shelf products that you manufacture and can order. I kind of assumed it was all custom, but there, there is stuff that you can just buy, right?  Jonathan Labbee: Yeah, absolutely. I mean, we have a whole suite of products that you can either utilize the way that they are or customize with brackets and carriers and these types of things. It is actually the bulk of our business, although we publicize more of the iconic type of projects simply because people like to hear about those.  Still, we do several hundred projects a year that are obviously much smaller and sometimes not as much talked about. Are those fixed projects or do they, or are they more about shipping out material that's going to be used by touring acts?  Jonathan Labbee: These are fixed projects. Although we do a lot of touring, we just launched Morgan Wallen last week with our new A5 series, which is an amazing product and show, but touring for us is, it's really great, obviously for recognition, but it's ALSO a fantastic place for us to try out new ideas. So it is really like an R&D lab, and that's why we continue to put so much effort into rental and touring.  We get to try out new ideas with clients who are willing to take chances and want to be the first, and then once you have something great, you refine it, and you make it more robust for permanent installation because, in a permanent installation, the criteria are quite different. You don't want to go up 1000 feet to change the light bulb, for example, right? That becomes very expensive. When I was on a tour, it lasted for a few hours. You can take it down. You could address things if you need to so there's a method to our madness, I would say. Is there linkage at all between, because you're a Montreal company, there's at least a couple of Montreal creative shops that have also done a lot of work with touring acts as well. Do those come together or are they kind of separate tracks and once in a while you bump into each other?  Jonathan Labbee: They are separate tracks, and oftentimes, we bump into each other. So, for example, when we did Orlando airport, the content designer for that was Gentilhomme who we know very well. We obviously have Moment Factory and a bunch of other creatives out here. So there's a really nice hub here, and we're all friends, by the way, so we all have lunch together and these types of things, because it's fun to talk about whatever we're working on. Going back to Sphere, the product that you developed particularly for the exosphere, is that something that you can turn around and productize, like turn into its own product that could, could be used, or is it really unique to that building?  Jonathan Labbee: It is unique to the building and has certain features specifically designed around its geometry. So, I think that those additional features would probably be lost if we were attempting to use it somewhere else, but in any case, it's not something that we would want to do with it. It has not only technological criteria but also aesthetic criteria that are unique to the Sphere. But the concept, though, of these pucks or discs of some kind that have LEDs embedded in them, I believe what you did at Burj Khalifa was kind of like sticks or something more.  Jonathan Labbee: Yeah, exactly. Burj Khalifa, because it was a linear approach, used a product that we call V-Stick that we customized for that particular building.  But if you take L.A. Stadium, for example, or SoFi Stadium, that has a puck format on the roof. There are, I think, about 35,000 of them, and you get a video image on the roof when you're flying above from LAX.  So anytime you've got curvature, a puck is probably going to be a lot easier to manage than a stick because you'd have to custom bend each of them, right? Jonathan Labbee: Yes, but it also depends on what the client is trying to achieve. So, if you take SoFi Stadium, they wanted to have an even spacing of the pixels, whereas Burj Khalifa had very different criteria. They were 30,000 pixels tall but only 72 pixels wide because we had to install them in between the windows. So, on the architectural things, each project kind of reveals itself in its architecture in terms of what product or what you should be designing to achieve their media.  When you work with architectural firms, do you have to invest some time at the front end with the architects, particularly on the engineering side of things, as opposed to the big vision side of things for them to understand what's possible and what's physics-defying?  Jonathan Labbee: I would say yes in the beginning, but we work with all of the major architect firms like Foster and Populous and those types, and the more and more projects that we do together, the more and more that we understand each other's criteria. Now, on our side, what we did to make sure that we could have ease in speaking with the architects, we have an entire architectural division within SACO. So we have a Spanish office that has seven architects, BIM integrators, computational programmers, and so on, which mimics the architects' workflow. So, not only do we work with them to show them what's possible, but we also work with them to design the technology within the architecture. Then, we are able to produce the drawings at their level, which they then incorporate into their drawing sets.  I'm guessing, I don't know the architecture business at all, but I'm guessing maybe a decade ago, there were one or two projects where people were thinking about architectural lighting of some kind, and it was this novel concept, and I'm wondering now if it's almost like a default concept for all flashy new buildings. Jonathan Labbee: Well, it is. If you want your building to stand out, you have to have some level of technology on it or some level of color or something because if not, you just fade into the background.  I guess I have come back to the whole idea of zoning that, I see skylines in China; it's just like the whole skyline; every building is lit up, and they're all animated, and they're all doing things, and I'm thinking, well, you can do that in China. I'm not sure you could do that in Long Island City in New York to face the Manhattan skyline with buildings doing that. Do you have to kind of factor that in? Jonathan Labbee: Oh, absolutely. I mean, actually, obviously anything governmental kind of tends to move at a slower pace. So we have built it into our workflow, and in the architect's workflow, let's say, the sensibility of making some tools and visualizations for the city zoning people and a perfect example of that would be F.C. Cincinnati, which we did with Populous. So F.C. Cincinnati is a soccer club, an MLS team, and the entire architecture of the building is like these fins that are kind of slanted and it gives like some level of static movement to the building, and our job was to animate those fins at night to give the nighttime identity. So we did an entire lighting study, and we have special filters built into the content so that, or into the content player, so that anywhere where it's facing residences, the light levels never exceed a certain amount.  We produced all of that, all of those studies with the architects, to present to the city on behalf of the client. What's the thinking around what level of, for lack of a more exotic description, razzle-dazzle is appropriate?  I'm thinking in Las Vegas, the Sphere makes perfect sense. That's on-brand for Las Vegas. I'm not sure that would make as much sense in, I don't know, San Francisco or Minneapolis or whatever and I have a lot of affection for much more subtle architectural lighting.  Jonathan Labbee: Yeah. But you have to think of the fact that Sphere is the extreme, right? It has a completely adaptive skin. So the skin, when there's no media on it, obviously, it's this dark surface, but the media at that point is designed for the environment. So, in Las Vegas, it's appropriate to have this very kind of flashy razzle-dazzle stuff.  But if you were doing something in San Francisco, the UK, or something like this, where you need it to be more subtle, the content would move maybe at a different speed and be produced in a different manner. Maybe it'll be more focused on lighting effects rather than full crazy commercials and that kind of thing. So, having adaptive skin is actually a really good thing in any environment because you can tailor it and adapt it as you move along. I'm assuming that it would be pretty difficult for more conventional LED display companies like the I don't need to rattle off the names, but the major manufacturers who put billboards up in Times Square and on the sides of stadiums, but it's not part of the architecture. It attaches to the architecture. It would be difficult for them to get into this because you've got a massive head start.  Jonathan Labbee: Yeah, I think it would be very difficult. I mean, also, there's a mindset that goes along with it. We don't choose the path of least resistance. I think the people that work here would get bored. But at the same time, you have to evolve over years, tool sets in order to accomplish these very difficult geometries because everything needs to support it from the back as well. You have to be able to do proper wiring diagrams and power layouts, and all this because it affects the entire architecture of that building, so we're doing it by choice, let's put it this way! I saw a post last week on LinkedIn about a company that's made a sphere, I don't know, 25 feet tall or something like that as a product. how do you react to those things?  Jonathan Labbee: Yeah, I guess I'll go with the analogy of trying to copy something is flattery. Again, it's not the first time that these types of things happened. Obviously, it's not on the same scale as the Sphere, but I mean, year after year, we see people trying to copy what we've done. Yeah, that can't be easy. I'm also curious about media facades and the use of LED within glass or applied to glass at some point. Are you being asked about doing that?  Jonathan Labbee: Yeah, so actually, many years ago, we actually designed some technology and actually have a patent for LEDs within glass, and we actually tried it out, and in concept, it sounds like a great idea, but in practice, it's not that great of an idea, as we found out, and what I mean by that is that there's a couple things:  First of all, if you need to replace something, you now need to pull the glass off of the building, which could affect the tenants inside. If it's a hotel, it's a hotel, you know what I mean? If it's an office building, it's an office building. You're not replacing the glass. But the other thing that it did is that it could have potentially put us in competition with some of our clients, which are the curtain wall manufacturers, and we work with all of them. So if we were to come up with our own glass product, and we were to try to go sell it, we're essentially either aligning ourselves with only one of them, or we're competing against all of them. So we had decided against that, but the serviceability of it was the bigger problem. Where are you at now in terms of headcount, where you're located, and everything else?  Jonathan Labbee: Yeah. So we're in Montreal still. We're just across the street from our old facility, which we were there for 35 years, and we're now in this beautiful 218,000-square-foot facility that we got into obviously with Sphere and other projects in mind, and we're 120 people strong, and when we're full project involved like with Sphere, we grew to about 380.  So we scale up, and we scale down depending on the projects, and we have arrangements with different companies for that and that's where we are now. Is it hard to be that elastic in terms of your workforce, given the challenges of hiring? Jonathan Labbee: Well, the pandemic certainly tested us. I mean, we've never had issues with it before, but the pandemic made it a bit more difficult. The way that we design our manufacturing and all of our testing—I mean, we have a lot of electronic aids and stuff like that—we, the core people that we have here, can be split up to become team leads. So, when we hire people, it's for the lower-skill positions. So it's easier. You have a bigger pool to choose from, and then after that, we scale back down when we don't need to do that anymore, and then our core workforce takes on all the responsibility.  So these could be logistics people who are just packing things up and so on? Jonathan Labbee: Correct. Exactly.  I assume you're NDA'd up the wazoo on a lot of projects, but are there ones that you can talk about that will be released in the next year or so?  Jonathan Labbee: So I can't really talk about them, but I can tell you that we're building a beautiful project in Spain after having an office there for, I don't know how many years, finally, we get to do a project in Spain and that's very exciting.  What part of Spain? Jonathan Labbee: In Valencia.  Oh, nice. Jonathan Labbee: So right near the sea and stuff like that. So I can't say what it is yet, but it's going to be beautiful, and as I mentioned, we literally just delivered Morgan Wallen last week and that's pretty exciting as well. What has the past couple of years meant for the company in terms of business? Has it just rocketed or is it just seen like a nice, healthy bump?  Jonathan Labbee: Well, I'm going to say it's going to be a controlled rocket because we, again, dealing with the pandemic is one thing and then supply chain and all that kind of stuff, but the other thing that we needed to be very disciplined about is to not take on too much work as to not affect the delivery of the Sphere, and that was on purpose, and we had spoken with our customers and our architects and stuff like that, and we were very selective in the projects that we took on during the big delivery of the Sphere. Thankfully, though, the pandemic did push a bunch of the projects into the future. So now those products are coming back to us, and we have a lot of bandwidth, and we're filling that up pretty fast.  I suspect as well that the simple fact that you've delivered this and it's got the global attention that it has certainly made your architecture partners and other potential customers very comfy that, yeah, you can do this! Jonathan Labbee: Oh, yes, absolutely. You know, and at the same time, we're not just a one-trick pony. We did deliver a very large project at Orlando airport at the same time and Delta the airfield at JFK and a bunch of other projects, the Rolling Stones and Lady Gaga and all those. So we continued doing everything kind of caused an undertow, but Sphere was a really big focus, and now that we've finished delivering Sphere, we're working on many other very exciting projects.  I'm sure there are lots of day-to-day headaches in terms of being the CEO of a technology company, but it sounds like you get some pretty fun road trips with all these touring acts and big venues. Jonathan Labbee: Yes, and you get to meet very interesting people and like-minded people, and you get to see behind the scenes, but look, it's a lot of work. There's no doubt about it. I mean, every day we're trying to do something different and do something new. So you're always kind of in that development mode, but when you see the results, and then you see the teams that you're building and the culture that you're building within the company, it makes you proud and makes it fun to be here.  Absolutely. Congratulations on the product or the project and on everything else that's going on with you! Jonathan Labbee: Well, thank you. Appreciate it.

We have come to the end of September 1991 once again. Chase and Emmy played these games so long ago, how have they held up? For the most part, not great. In this episode, we talk about Hal's Hole-in-One, Super Bases Loaded (featuring Ryne Sandburg… kinda), The Chessmaster, HyperZone, Populous, Final Fight, and a special guest appearance by Ultraman: Towards the Future. A lot of these games are somewhat unique on the system and some of them take some pretty big swings, but most of them fall flat. How will that effect their placement in the SNES rankings?

Spectator expectations of the interior offerings at sports and entertainment venues have changed drastically in recent years, with nondescript hole-in-the-wall-style concessions and subpar food and beverage options falling woefully short of the standard set by a burgeoning high street bar and restaurant scene. This episode of Populous' podcast explores how our teams create interior spaces that reflect a sense of place and history for the venues they are housed within while catering to the wants and needs of the modern sports and entertainment fan.

Frank Cheng is co-founder and loremaster at the Fonnie Magus game studio. They are developing Apeiron, part of a new wave of token-driven, play-and-earn NFT games.  Why you should listen Apeiron is part of a new wave of token-driven, play-and-earn NFT games. Our tri-token system utilizes governance, play-to-earn, and alliance tokens in tandem to create a dynamic economy that mirrors the real world, while our NFTs - in the form of Planets, Stars, and Relics - puts the ownership in the rightful hands of the player. What you make in the game - the planets you build - they're yours: keep them, sell them, or use them in the wider NFT metaverse. Inspired by classic God-games such as Populous and Black & White, as well as modern Roguelite action-adventure games, Apeiron will offer integrated gameplay where you can shape the world from on high before getting down to earth as a controllable Avatar to unlock the universe's mysteries. Grow your planet until it can't grow anymore, then reset the planetary cycle, opening the door to exciting Alliance level PvE and PvP gameplay. The universe awaits! Supporting links Bitget Bitget VIP Link with BONUS 1000 USDT Bitget Academy Bitget Research Bitget Wallet Apeiron Andy on Twitter  Brave New Coin on Twitter Brave New Coin If you enjoyed the show please subscribe to the Crypto Conversation and give us a 5-star rating and a positive review in whatever podcast app you are using.  

#MI: Michigan is said to be a swing state, and the longtime Michigan political voice Thaddeus McCotter analyzes what to expect fron divergent populous counties (Macomb, Oakland and Wayne) -- and from the governor.   undated Three Rivers MI

Welcome to Dev Game Club, where this week we continue our series of one-off episodes about games that featured rotoscoping, turning to 1989's Prince of Persia. We set it in its time and discuss its publisher and author before talking about the game proper. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: To levels 4 (Tim) and 8 (Brett) Issues covered: the series hook, games from 1989, rotoscoping, similarities to Tomb Raider, tiles and metrics, a more systemic/discretized game, precision and replay, figuring out the level enough to know where to save, that speedrunning feeling, do you ever wish you could rewind time, requiring more game due to mechanics, having to learn the whole game, the feeling of running and jumping, the tension of animation and input, multiple inputs, the intertwining of animation and design, the feeling of swashbuckling, the great feeling, action as character and commitment, wondering how many people finished the game, the punishing feeling, checkpointing, punch the eagle, the great feel of parrying, pushing through the enemies, tells, the approaches of different guards, cinematic combat, difficulty in text adventures and player appeal, chipping away at knowledge, adding drama, resources and the doppelganger, level design and reuse, animating bits of the world, his books, mixing up the skeleton. Games, people, and influences mentioned or discussed: Another World, Jordan Mechner, Broderbund Software, Populous, Game Boy, Super Mario Land, Tetris, Ghosts and Goblins, Sega, Golden Axe, Shinobi, SimCiy, Teenage Mutant Ninja Turtles, Ultima (series), Star Trek, Final Fantasy II, Castlevania III, Print Shop, Choplifter, Karateka, Lode Runner, Hypercard, The Last Express, Agatha Christie, Tomb Raider, Triple Click, Plague Tale: Innocence, Dark Souls, Jamie Griesemer, Halo, Mario 64, 1001 Arabian Nights, Seventh Voyage of Sinbad, Errol Flynn, Indiana Jones, Civilization, Robin Hood, Captain Blood, Daffy Duck, MegaMan (series), Kirk Hamilton, Jake Gyllenhaal, Ben Kingsley, Final Fantasy VI, Aaron Evers, Mark Garcia. Next time: Another rotoscoped classic Links: Making Prince of Persia June: 1:01:00 or thereabouts Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @devgameclub Discord DevGameClub@gmail.com

In episode 7, Neil is joined by Zach Allee, Principal & Senior Architect at Populous. They discuss some unique opportunities to consider when building a new ballpark, what fans can expect and how it will bring the community together - even in the off-season. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

On this Episode of WSEG, we follow the farmer protest in Germany as the protesters grind berlin to a halt. Also, we explore how populous movements are popping up around the world and always get labeled as far right extremist uprising to shape a negative public perception. Video Version HERE: https://youtu.be/HyTPhDWMz3o Help support the show and Check Out Our Fresh A$$ Merch Store: https://store.streamelements.com/wespeakenglishgood Find W.S.E.G.'s Music : https://songwhip.com/wseg support those that feed you: wespeakenglishgood @ gmail. com Find Us On Social Media: https://www.instagram.com/wespeakenglishgood/ https://www.facebook.com/wespeakenglishgood/ https://twitter.com/wsegpodcast https://www.twitch.tv/wespeakenglishgood https://discord.com/invite/m6NTJx  https://www.tiktok.com/@wespeakenglishgood https://linktr.ee/wespeakenglishgood https://rumble.com/user/WeSpeakEnglishGood Find us on YouTube: https://www.youtube.com/c/WeSpeakEnglishGood www.wespeakenglishgood.com

Welcome to Dev Game Club, where this week we complete our series on Trespasser. We look through the glass darkly at the mistakes and how they illustrate some things, before turning to our takeaways. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Finished the game! Issues covered: the funhouse mirror, writing the weird things on the whiteboards, voice acting, a game lost to time, the inner monologue, some good set up of a level, the invisible blocking wall surrounding Hammond's, box lifting master, weird technical friction about saves, looking for the white keycard, a misaligned bookshelf and visual language, the green disc, the personal memoir, rubbing the disc on the drive, the keycard mess, finding an alternate solution, immersive sim stuff, parallel developments, shining a light on something you didn't know you wanted, the preset objects, restoring forces, deconstructing what the designers put to place your own, contrivances, more keys that aren't keys, not leaning on the license, a more straightforward puzzle, 526327, the extending weird finger, modeling "dexterity," throwing the keycard in the Atlantic, a helpful (?) velociraptor, pressure plates in the ruins, playing something mid-development, games that should be canceled, deals that forced the game out, breaking your game while you build it, getting better at making the game, hitting the board in the wrong place, setting up the physics and seeing the world a certain way, shaking the Jell-O, letting the Jell-O settle, learning how to kite the dinosaurs, spawning three dinosaurs, making terrible mistakes, choosing appropriate goals, not knowing if a thing is possible, mashing up things, being aspirational, leading the way, admiring the purity, dinosaur ecology, getting to see something like this, being consistent in your rules, providing clarity. Games, people, and influences mentioned or discussed: Jules Verne, H. G. Wells, Arthur Conan Doyle, The Lost World, Through A Glass Darkly, Minnie Driver, Richard Attenborough, Jimmy Carter, Populous, Civilization, Peter Molyneux, Sid Meier, Ultima Underworld, Half-Life 2, DOOM (1993), Everything Everywhere All At Once, The Spielbergs, Bethesda Game Studios, Call of Duty, Indiana Jones, Tomb Raider, Skyrim, Todd Howard, Velvet Underground, Jell-O, Fallout 3, Hal Barwood, Ray Harryhausen, Land That Time Forgot, Zoo Tycoon, Far Cry 2, Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: ?? Notes: Having not seen 1974's The Land That Time Forgot in quite some time, Brett misremembered the movie. He was actually thinking either about scenes from a movie called The Valley of Gwangi, which is from 1969, or One Million Years BC, (1966) both of which feature stop-motion animation by Harryhausen.   Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @devgameclub Discord DevGameClub@gmail.com

We are in the middle of a global stadium boom in sports. And one company is making its mark with some of the most state-of-the-art structures we've ever seen. This podcast will be a feature on Populous, one of the top stadium architecture firms in the world. Enjoy!Ps. I recently launched a sports business community on Microsoft Teams. Join here: https://teams.live.com/l/community/FAAIJe0ERyXmJDuOQw

We are in the middle of a global stadium boom in sports. And one company is making its mark with some of the most state-of-the-art structures we've ever seen. This podcast will be a feature on Populous, one of the top stadium architecture firms in the world. Enjoy! Ps. I recently launched a sports business community on Microsoft Teams. Join here: https://teams.live.com/l/community/FAAIJe0ERyXmJDuOQw Learn more about your ad choices. Visit megaphone.fm/adchoices

The development of new sports stadiums and facilities can bring regeneration to deprived areas. They hold a special place in the hearts of sports and live music fans. But have some of the new ones lost their spark? In this edition of Business Daily, Sam Fenwick asks, what gives a stadium its atmosphere and can it be designed in? Sam speaks to Christopher Lee, whose architecture practice, Populous, has designed 3000 arenas all over the world. He shares his experience of designing iconic grounds like the Yankee Stadium, Wembley Stadium, and Olympic stadiums in Sydney, London and Sochi. And we hear from BBC World Service listeners, who tell us what makes their favourite sports grounds so special. (Picture: Boston Red Sox starting pitcher Brayan Bello (66) throws a pitch against the Kansas City Royals in the third inning at Fenway Park, Boston, Massachusetts. Credit: David Butler II/USA TODAY Sports) Presented and produced by Sam Fenwick

Welcome to Dev Game Club, where this week we complete our series on Eye of the Beholder. We talk more about D&D adaptation, spend some time with a sequel, and get to our takeaways before emptying the mailbag. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Issues covered: which levels count in the sequel, killing lots of beholders, whether you could have killed Xanathar in the original, striation of hit point values, scaling for sense of power, paying off on the quests, finding all the beholders, beholder physiology, having more fun with beholders as designers, bulettes and basilisks, "just keep going," being trained for level navigation, designing towards the player understanding, wanting coordinates, using simple concepts well, modular repeatable and combinable concepts, leaning into the limitations, an onion layer level, "mapping matters," loving drawing maps, sanding off of friction (various ways of telling the player how to get there), being more embodied in the dungeon, the more you take out the less the experience becomes, allowing for abstraction and having to draw you in other ways, translating D&D, why simulate the math, a bad game to simulate, "what is a saving throw?," using video games to inform the evolution of your tabletop game, emphasizing the human, a more elegant system, dice variance, a useless party experience, usability issues, bad games that were influential on us, remembering movie moments but not the gameplay, even bad actors are better than what we could do at the time, digging into all the RPGs, not knowing what to do in SimCity, DOS vs Mac music and early audio, a craftman's respect for audio, warm analog music, hearing multiple versions of the same soundtrack, not playing a lot of real-world games, physics in games and pitting against fun, wanting to get to specific rides vs how you build a park, Tim gets turned off on the CRPG book, building on foundations and the legacies they carry, business concerns, shipping code passing cert, climbing uphill to make changes, maintaining the feel. Games, people, and influences mentioned or discussed: Eye of the Beholder II, Winnie the Pooh, The Dungeon Run, Metal Gear Solid (obliquely), Wolfenstein 3D, DOOM (1993), Gary Gygax, PS5, Xbox Series X, Dark Souls, Temple of Elemental Evil, Indiana Jones (series), Far Cry 2, Starfighter, Jurassic Park, Ultima Underworld, God of War, Baldur's Gate (series), World of Warcraft, William Shatner, Vampire: the Masquerade, Call of Cthulhu, Mechwarrior, Mechassault, Warhammer, Morrowind, Fallout, Diablo, Westwood, Ashton Herrmann, Kyrandia (series), Lands of Lore, Trespasser, Clint Hocking, Assassin's Creed (series), Darkstone, Neverwinter Nights, Kingdom Hearts, Twisted Metal Black, Warcraft II, Quake, MYST, Grim Fandango, The 7th Guest, NextGen, Sam Thomas, The CRPG Book, Skyrim, The Bard's Tale, Disco Elysium, Rogue, Betrayal at Krondor, Cobra Mission: Panic in Cobra City, Andrew, SimCity 2000, GameBoy, MegaMan, NES/SNES/N64, Grant Kirkhope, GoldenEye 007, Metroid (series), Half-Life (series), Rollercoaster Tycoon, The Matrix, Disneyworld, Great Adventure, Canobie Lake Park, Dungeon Master, Chris, Populous (series), Dungeon Master, Fallout 3, mysterydip, Commander Keen, Dwarf Fortress, Metroid Prime, Bethesda Game Studios, Halo (series), Bungie Studios, Tomb Raider, Galleon, Toby Gard, Redguard, Reed Knight, Todd Howard, Starfighter, Grand Theft Auto (series), Starfield, Unreal (series), Gears of War, Republic Commando, Jack Mathews, Mark Haigh-Hutchinson, Kirk Hamilton, Aaron Evers, Mark Garcia.  Next time: Our next game? Links: The CRPG Book Dungeon Master Encyclopedia and video Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @timlongojr and @devgameclub Discord  DevGameClub@gmail.com

Photo: No known restrictions on publication. @Batchelorshow #PRC: India surpasses PRC as the most populous state.Kamran Bokhari, director of Analytical Development at the Newlines Institute for Strategy & Policy, @GordonGChang, Gatestone, Newsweek, The Hill https://www.wsj.com/articles/india-china-population-economy-9dd7bf27.