ELEGANT DESIGN, LIFELIKE AUDIO. MicroexTM Wireless Systems Enterprise-scale Microphone Solutions for Managed AV Environments ™
Microex Wireless systems bring vivid, lifelike audio to meetings, panel discussions, teleconferences and other applications in managed AV environments — from signature boardrooms and concentrated multi-room environments to networked corporate campuses. • • • • • • •
Flexible mic options – Gooseneck, boundary, bodypack and handheld microphones Modern, low-prole designs – Fit comfortably into diverse AV environments Dante™ digital audio networking – Low latency, multichannel audio over Ethernet networks Advanced rechargeability – Smart lithium-ion batteries enable remote monitoring Browser-based control software – Comprehensive system setup and real time control Automated frequency coordination – Ensures clean frequencies for every wireless channel Encrypted wireless – AES-256 protection for secure over the air wireless audio
Distributed by
www.jands.com.au
ETX Powered Loudspeakers The ETX Powered Loudspeaker family builds upon the industry-leading innovation and 85-year heritage of Electro-Voice audio engineering to offer the most advanced professional-grade products for an array of applications. • State-of-the-art components deliver the legendary EV sound quality and reliability the pros trust: 1800 W (subs) & 2000 W (full-range) Class-D power amplifiers with integrated DSP produce high SPLs utilizing high-sensitivity, low-distortion transducers (including DVX & SMX series woofers and precision DH3-B HF titanium compression drivers). • Lightweight, ergonomic, durable and compact 18-mm, 13-ply birch plywood enclosures finished with EVCoat. Eight mounting points for permanent installations (full-range models). Custom die-cast aluminum pole cups, handles and hardware.
Performance beyond the reach of the competition.
BRAINPOWER Intelligent technology, innovative design. • EV’s FIR-Drive utilizes the latest Finite Impulse Response (FIR) filter technology to optimize transducer linearity. Advanced limiter algorithms for independent peak and thermal transducer protection. • Complete full-function DSP control via a single-knob interface. LCD screen for easy system set-up and monitoring: location/application EQ presets (e.g. tripod, mounted, suspended, live, music, speech), limiter status, input level controls/meters and master volume control to ensure optimal gain structure. Parametric EQ allows for more precise configuration. Subs feature a preset for true cardioid performance. • EV-patented Signal Synchronized Transducers (SST) waveguide design provides precise and consistent coverage across all system configurations. Waveguides are custom-designed and optimized per model.
www.electrovoice.com/ETX Bosch Communications Systems (02) 9683 4752 boschcomms@au.bosch.com
10 • 12 • 15 • 15 3-way • 15 sub • 18 sub Designed, engineered, tested and assembled for ultimate reliability by Electro-Voice in the USA.
04
Editorial AV Magazine: The Next Generation The astute observers among you will have spotted a couple of small but profound changes to the cover of this issue. I’m not talking about the cute creepers which are decorating our logo, although I think this may be the first time that projection-mapped images have been transplanted from a building and onto magazine cover. Hopefully somebody will have sprayed them with Roundup or Agent Orange defoliant and removed them in time for the next issue. The changes I’m referring to are the addition of the words Asia Pacific to the logo and the inclusion of an international domain name for our website and our emails. As AV moves into its seventh year of publication we’ve been wondering about how we can take advantage of the changes in the way people in our industry communicate with each other, in these somewhat leaner and more technically-enabled times. We’ve been thinking for a while now that most of the articles in AV magazine are likely to be of interest to the wider AV world, not just us here Australia and New Zealand. It occurred to us that while many people outside our quiet corner of the Pacific may not have even heard of the Australian Chamber Orchestra, Monash University or the Auckland War Memorial Museum, the stories we’ve told about these places and the projects and technologies that are being used in them, are nevertheless likely to be of interest to other AV professionals. So we’ve decided to venture out into the Asia Pacific region and offer our magazine beyond our shores. While we’re sticking to our knitting and continuing to tell stories with some real technical
content, and offering tutorials and examinations of the technologies that matter to us, we’re going to be casting our story-gathering net a bit wider around the Asia Pacific region. THE MYTH OF THE PAPERLESS TOILET
Despite the many exaggerated claims about the death of the printed magazine, we can see that the professional AV industry is still pretty fond of getting its hands on our handsome paper magazine, full of high resolution images and articles that have more content than you can fit on a single smartphone (or even phablet) screen. We know that AV gets passed around between desks, lunchrooms, tech offices and workbenches and often joins the elite selection of learned journals made available in the gentlemen’s ‘reading room’. While we realise this is something that can’t yet be readily replicated by electronic devices; as screen resolutions get better and web content delivery gets easier, we know that many of you will opt to get your AV information by electronic means, so we’re doing more about it. For a while now we’ve been thinking of AV as an information channel, rather than just a magazine. We’ve long since come to the conclusion that anyone who relies solely on the news printed in our magazine for their knowledge of happenings in the world of AV is going to miss out on the vast amount of news that simply won’t fit on our printed pages. So over the last few years we’ve been gathering progressively more news, posting it on the website while it’s fresh, then regularly selecting some highlights which we send out in a newsletter to those of you who don’t have
time to visit us on the web every day. When we come to select the news for the magazine we pick out some highlights from the mass of material accumulated on the AV website. Because we want to do a better job of sharing what we’re learning about the technologies, projects, businesses and people in the AV world, we’ve decided to take the next step and bring in an online editor to advance what AV is doing beyond the printed page. Be prepared for a lot of changes in how, and how often, you connect with AV. Firstly there will be more material on our website as our Online Editor focuses on sourcing more and better material about what’s going on in the worlds of AV technology, AV applications and AV projects. Next, you’re going to hear more of what’s happening because we’ll be sending out regular email updates on the things you probably should know about, like available training opportunities, job vacancies, and interesting work being done by others. We’ll also be following up on stories from AV magazine and bringing material like video clips, background material and all the great photos and plans that we don’t have room for in the printed magazine. At this very moment our Online Editor is looking at how to regularly keep you up to date through such additional channels as Facebook and LinkedIn, so keep an eye out for our emails letting you know how to get an extra dose of fresh and up-to-date AV. Andy Ciddor, Editor: andy@av-technology.net
The Asia Pacific Region's News, Jobs, Projects & More Any time you want it at www.av-technology.net
TM
Crew Ben Hatcher is an AV engineer with eight years industry experience. After starting his AV career as a dry hire driver in London he moved on to work at British national broadcaster ITV for almost 4 years heading up the AV department. Ben currently works at the University of Adelaide in a technical support role within the Client Delivery team. He is also an AETM committee member.
Advertising Office: (02) 9986 1188 PO Box 6216, Frenchs Forest, NSW 2086
Editorial Office: (03) 5331 4949 PO Box 295, Ballarat, VIC 3353
Editor: Andy Ciddor (andy@av-technology.net) Publication Director: Stewart Woodhill (stewart@av-technology.net) Editorial Director: Christopher Holder (chris@av-technology.net) Publisher: Philip Spencer (philip@av-technology.net) Art Director: Daniel Howard (daniel@av-technology.net)
Marcus Pugh has worked in the entertainment industry for over 15 years. He has lit everything from TV to tours, corporate to circus, galleries to garages, and yet he’s still smiling and always up for a joke. Marcus now spends much of his time looking after a large client base for Melbourne lighting company Resolution X. He is currently a committee member of the Australian Lighting Industry Association, a member of the AVIAs judging panel, and has a continuing passion for lighting in all fields.
Online Editor: Jen Temm (jen@av-technology.net) Additional Design: Dominic Carey (dominic@av-technology.net) News Editor: Graeme Hague (news@av-technology.net) Accounts: Jaedd Asthana (jaedd@alchemedia.com.au) Circulation Manager: Mim Mulcahy (subscriptions@av-technology.net) Cover Photograph: Courtesy of Technical Direction Company (TDC), photographer Rodney Campbell
alchemedia publishing pty ltd (ABN: 34 074 431 628) PO Box 6216, Frenchs Forest, NSW 2086 info@alchemedia.com.au All material in this magazine is copyright © 2014 Alchemedia Publishing Pty Ltd. The title AV is a registered Trademark. Apart from any fair dealing permitted under the Copyright Act, no part may be reproduced by any process without written permission. The publishers believe all information supplied in this magazine to be correct at the time of publication. They are not in a position to make a guarantee to this effect and accept no liability in the event of any information proving inaccurate. After investigation and to the best of our knowledge and belief, prices, addresses and phone numbers were up to date at the time of publication. It is not possible for the publishers to ensure that advertisements appearing in this publication comply with the Trade Practices Act, 1974. The responsibility is on the person, company or advertising agency submitting or directing the advertisement for publication. The publishers cannot be held responsible for any errors or omissions, although every endeavour has been made to ensure complete accuracy. 7/7/2014
Derek is an audiovisual consultant with AVDEC, specialising in tertiary education projects. Starting in broadcast TV and radio at the ABC, he bounced between event AV and video production before settling for twelve years at the University of Queensland. He is past president of the Association of Educational Technology Managers and has been a regular judge of the AVIA awards. He now divides his time between consulting, writing and the occasional video production assignment.
Paul is a freelance lighting designer based in Sydney. Struggling to find work in his homeland, Paul spends much of the year in far flung places in perpetual search for the perfect breakfast and good coffee. With a love of lights, gadgets and a good story, Paul makes an admirable effort to bring to AV reviews of products and events from around our small and wondrous globe.
The new Blackmagic Studio Camera has optical fiber, talkback, tally and massive 10” viewfinder! The Blackmagic Studio Camera is the world’s most advanced broadcast camera for live, multi camera production! It features an incredibly tough, lightweight machined magnesium design with a massive 10” viewfinder, 4 hour battery, talkback, tally indicators, phantom powered microphone ports and built in optical fiber and SDI connections. That’s a fully self contained, broadcast grade, live camera solution! Full Size HD Viewfinder The Blackmagic Studio Camera includes the world’s largest viewfinder built in! The massive 10” high resolution screen has a super wide viewing angle and extremely high brightness so you can see your images with amazing detail even in bright daylight! This professional grade viewfinder makes it easy to frame, focus, change iris settings and make subtle adjustments with full confidence even when you’re live on air! Optical Fiber and 6G-SDI Connections Connect Blackmagic Studio Camera to your live production switcher with optical fiber cables connected to the built in fiber port or use regular 6G-SDI BNC video cables! The video connections are bi-directional and carry HD or Ultra HD video with talkback, tally, embedded audio and even camera remote control. With standard, low cost fiber optic cable, you can connect to your cameras over massive distances!
www.blackmagicdesign.com/au
Talkback and Tally The Blackmagic Studio Camera features built in talkback using general aviation headsets, so you get better noise cancelling and comfort at a much lower cost! You also get built-in tally lights that illuminate automatically when your camera is live so your cast and crew can easily see which cameras are on air! Talkback and tally signals are embedded in the return video connection to the camera, so you don’t have to run separate cables! Micro Four Thirds Lens Mount The active Micro Four Thirds lens mount is compatible with an incredibly wide range of lenses and adapters. You can use your existing photo lenses for smaller setups and fixed camera use, or connect incredible broadcast ENG lenses via a B4 lens adapter. You can even use third party adapters for high end feature film PL mount lenses, so it’s easy to customize your camera to suit any sized production!
Blackmagic Studio Camera HD
2,415 2,4
$
Blackmagic Studio Camera 4K
3,625
$
What if ClearOnes’s Beamforming Microphone Array came with a 1080p video conferencing system and required no external mixer?
it does. *Products not shown to scale
Find out how ClearOne is delivering a cohesive, best-in-class audio and video collaboration project. The combination of the ClearOne Beamforming Mic Array and COLLABORATE Room Pro set a new standard from ClearOne- AGAIN!
Supplied and Supported by: Production Audio Video Technology sales@productionaudio.com.au 03 9264 8000
clearone.com/BeamMeUp
Issue 40 REGULARS NEWS AV Industry and product news highlights from the AV website.
12
INFOCOMM SHOW NEWS A selection from the thousands of product announcements from InfoComm 2014 in Las Vegas.
18
INFOCOMM ASSOCIATION NEWS News and announcements for the region.
48
TERMINATION Percussive maintenance: the terminal decline of the calibrated thump.
50
FEATURES
24
36
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INTENSELY VIVID Sydney’s wintertime Vivid Festival continues to pick up momentum
24
AV HOUSE CALL Federation Uni’s Simulated Home Environment Learning Space.
30
20/20 EUROVISION The songs may be lame, but as always the AV is pushing the limits.
32
HERDING CATS WHILE JUGGLING CHAINSAWS The production challenges of Melbourne’s White Night festival.
36
TUTORIALS EDID UNRAVELLED Avoiding potholes on the road to EDID enlightenment.
42
INFOCOMM TUTORIAL Digital Signage – Content Planning.
49
REVIEWS SOLSTICE Mersive’s take on collaboration technology.
32 Display 1 WXGA only Video
Input
Output
Source
Video Video
EDID Handshake
40
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EDID EDID
Display 2 WUXGA (preferred) and WXGA
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NEWS
Highlights from AV News Online
MIRROR, MIRROR…
5 NEW SHORT THROWS
LATEST SHURE WIRELESS
Barco has announced the launch of the MMS-100 and MMS-200, high definition digital mirror systems for their HDX, HDF and HDQ projectors. Using a custom front-surface, optically-flat mirror, and utilising High End System’s optical and media server expertise, the MMS range delivers sharp, bright and detailed high definition images when combined with any of Barco’s high-brightness large-venue projectors, including the HDQ which outputs a 40,000 lumens. The MMS system allows for the projector to be rigged in its natural position with the mirror then doing all the work remotely. The MMS range is controlled over DMX or Art-Net and in the very near future will link up with Barco’s projector toolset, allowing simple set up in many applications. The projectionist will be able to position and store presets directly within the Barco suite of software. There are two versions the MMS100 including an Axon HD media server onboard and the MMS-200 being only the mirror. Barco: (03) 9646 5833 or www.barco.com
Hitachi has released five new ultra short-throw projectors, the CPAX2503, CPAX3003, CPAX3503, CPAW2503 and CPAW3003. All five models utilise an internal mirror design, and provide a new and improved wall mount, a wireless network option, 3LCD, 16W internal speakers and content can be shared via iOS or Android apps. You get two HDMI inputs and there is an optional Apple TV attachment bracket. The CPAX2503 is a 2700 ANSI lumens unit with XGA resolution (1024 x 768) and a contrast ratio of 5000:1. The CPAX3003 is similar except with a 3300 ANSI lumens, and again the CPAX3503 is a 3600 ANSI lumens unit. The CPAW2503 has 2700 lumens with WXGA resolution (1280 x 800) and a contrast ratio of 5000:1. The CPAW3003 has 3300 lumens with WXGA resolution (1280 x 800) and a contrast ratio of 5000:1. All the projectors come with a three-year warranty. Hitachi: (02) 9888 4100 or www.hitachi.com.au
Shure has revealed the new QLX-D Digital Wireless System, a cost-effective solution that features networked control and compatibility with Shure’s intelligent rechargeable battery technology. With all-metal construction, QLX-D is built to withstand demanding environments. AES-256 encryption comes standard and can be enabled for secure wireless transmission. The system’s intelligent lithium-ion rechargeable power options can provide up to 10 hours of continuous use and report remaining runtime in hours and minutes. QLX-D transmitters can also run on standard AA batteries for up to nine hours. QLX-D works with networking tools, including Shure Wireless Workbench 6 control software, thirdparty control systems, and iOS devices for control and monitoring with the newly-introduced ShurePlus Channels mobile app. Jands: (02) 9582 0909 or info@jands.com.au Shure: www.shure.com
NEWS IN BRIEF:
3D Audio Visual has been launched in Western Australia. Encompassing three dimensions of audiovisual excellence 3D Audio Visual delivers design, programming and installation for a complete audio visual solution. While a new company name, the lead team have been working together for 15 years and combined represent over 70 years of audiovisual industry experience. 3DAudio Visual: 0417 965 232 or www.3DAV.com.au
Major control and automation company AMX has been acquired by Harman. Harman International Industries, Incorporated announced it has signed an agreement with The Duchossois Group, Inc. and its affiliates to acquire AMX LLC. The transaction is subject to customary closing conditions, including applicable regulatory approvals. AMX will be integrated into Harman’s Professional division which includes brands such as AKG Acoustics, BSS Audio, Crown amplifiers, dbx , JBL Professional, Lexicon, Soundcraft, Studer and Martin Lighting. Harman: www.harman.com
• Get your daily news fix at www.av-technology.net
Videopro has opened a Business Solutions office in Townsville, North Queensland. After many years of servicing the region from its Brisbane HQ, it was a natural progression to establish a local office. The new office will allow the company to provide better local support for customers in regions including Townsville, Mackay, Cairns, and Mt Isa. Key appointments include John Duncanson as regional manager, and Cameron McGuffie as a control systems programmer. Videopro Business Solutions: (07) 3250 0026 or www.videopro.com.au
PreSonus has acquired loudspeaker manufacturer WorxAudio Technologies. WorxAudio designs and manufactures a broad range of line array, point-source, sub-bass, stage monitor, and related loudspeaker systems and accessories. With this acquisition, WorxAudio will augment core elements of its professional loudspeaker development efforts, especially drivers, system and mechanical design, system tuning, and rigging system design. National Audio Systems: 1800 441 440 or www.presonus.com
Hills has acquired Audio Products Group (APG), a long-established Australian and New Zealand supplier of professional audio products. APG was established in 1996 by Ken Dwyer. The combined Hills and APG businesses will position as a major supplier of specialised audio products in Australia and New Zealand. Key products within the APG stable include Aiphone, Tannoy, Lab.gruppen, Biamp and TOA. The latest expansion of Hills’ New Zealand presence via the APG acquisition follows its NZbased business, Hills Electronic Security, acquiring Aucklandbased Intek Security Group. Hills: 1800 685 487 or www.hills.com.au
NEWS
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Rewarding Excellence Celebrating Innovation NEW SONY XDCAM Sony has launched the PXW-X160, the latest addition to the Sony XDCAM Series of professional camcorders. The PXW-X160 features three 1/3 -inch full HD Exmor CMOS sensors and a newly-developed 25x optical zoom G-Lens that extends from a 26mm wide angle. It can record in XAVC Intra and Long GOP, enabling 10-bit sampling for hi-def recordings with rich tonal expression, as well as MPEG HD422 at 50Mbps, a format widely preferred by today’s broadcasters and production houses. It can also record in MPEG HD420 at 35Mbps, AVCHD and DV formats. The PXW-X160 differs from the PXW-X180 announced at this year’s NAB show, in the omission of features such as wireless functionality, NFC and GPS, effectively lowering the price. Both the Sony PXW-X160 and PXW-X180 are expected to be available in Australia and New Zealand from September this year. Sony Australia: 1300 720 071 or www.sony.com.au
Join AV Magazine, InfoComm (and a good chunk of the pro AV industry) for the presentation of the 2014 AVIAs. This year’s AVIAs will be presented at the Integrate Bar at the end of Day 2 — all welcome, free of charge.
AMX Australia has announced the addition of Maciej Nadstazik to the AMX team in the role of Regional Sales Manager (VIC/ TAS). Maciej comes to AMX with over 20 years’ experience in sales roles and has worked for a variety of IT and Electronics businesses, gaining a strong understanding of the complexities associated with selling integrated solutions. Based in the AMX Melbourne office, Maciej will work directly with the AMX Integration Partner Network in Victoria and Tasmania. AMX Australia: (07) 5531 3103 or www.amxaustralia.com.au
Kramer Electronics has acquired 50% of Singaporebased WOW Vision. WOW Vision is a manufacturer of product solutions for corporate and hospitality meeting spaces and educational facilities. Its products enable wireless connection to large screen displays from laptops and mobile devices and provide effective, efficient, productive two-way collaboration. Kramer will now assume responsibility for worldwide branding and distribution of Wow Vision’s products. Kramer: www.kramerelectronics.com
Amber Technology, one of Australia’s largest distributors of high technology equipment solutions, has been appointed the Australian and New Zealand distributor for Digital Projection International. A digital imaging pioneer, Digital Projection International is the only projector manufacturer to have twice won an Emmy Award for Outstanding Achievement in Engineering Developments. Amber Technology: 1800 251367 or www.ambertech.com.au Digital Projection: www.digitalprojection.com
Refreshments to be provided by InfoComm International prior to the ceremony. AVIA finalists to be announced in early August www.avias.com.au
ALIA
014
NEWS
RACK MOUNT SOUND DEVICE
BENQ P SERIES
KRAMER HDMI AMP
Sound Devices has announced the 970, its first-ever dedicated audio-only rack-mounted solution. Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. Inputs available include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analogue, and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. The Sound Devices 970 features an embedded web-based control panel for machine transport and setup control over Ethernet-based networks as well as file transfer over the data network. Sound Devices 970 is designed with a five-inch screen for metering of up to 64 tracks and for menu control. John Barry Group: (02) 9355 2300 or www.johnbarry.com.au Sound Devices: www.sounddevices.com
BenQ’s new P Series projectors, the PX9600 and PW9500, provide XGA and WXGA resolutions, high brightness (6500lm and 5700lm respectively), and 2800:1 contrast ratio. There are up to seven interchangeable, optional lenses that have motorised zoom focus capabilities and lens shift. The lenses range from short throw to long throw, and are of the highest quality (made in Japan), while the projector’s interchangeable colour wheel system provides the ability to boost mid tone colours for a more life-like picture. Image quality is created with BenQ’s duallamp design, and even when presented at maximum projection size there is ‘no drop in image quality’. A complete set of input options is provided, from digital and analogue to networking control connection terminals. Multiple projectors can be managed readily over a LAN. P Series projectors come with a wired remote control and a 360° tilt option. BenQ: (02) 8988 6500 or www.benq.com
Kramer Electronics has introduced the VM-4HN, a 1:4 distribution amplifier for HDMI signals. It relocks and equalises the signal, and distributes it to four identical outputs. The VM-4HN, with its maximum data rate of 10.2Gbps (3.4Gbps per graphic channel) distributes signals with resolutions up to Quad HD (3840x2160), 24Hz refresh with 8-bit/10-bit/12-bit colour, and 30Hz refresh with 8-bit colour. It also supports WUXGA (1920x1200) up to 12-bit colour, and 1080p at all colour bit depths. The VM-4HN supports Deep Colour, x.v.Colour, Lip Sync, HDMI uncompressed audio channels, Dolby TrueHD, DTS-HD, and CEC. It is HDCP compliant and features I-EDIDPro Kramer Intelligent EDID Processing, an intelligent EDID handling and processing algorithm that ensures plug ’n’ play operation for HDMI systems. In addition, the default, pre-programmed EDID allows the VM-4HN to be connected quickly and without having to connect a display to the output. The VM-4HN passes 3D. Kramer Electronics: (07) 3806 4290 or www.kramerelectronics.com
TESTOR-ING TIMES
CORIOMATRIX MINI
SMALLER SOURCE FOUR
Lynx Technik has launched its new Testor lite 3G, a costeffective, compact, hand-held multi-format test signal generator with local touch-screen control. Designed to address the demands of testing multi-format digital infrastructures, the Testor lite 3G supports SD/HD/3G 4:2:2 and dual-link video formats and generates two simultaneous outputs, as well as one sync output. In addition, Testor lite 3G generates a 3D test pattern either as two separate signal outputs (left eye, right eye) or one 3G-SDI 1080P dual-stream signal (Level B). The user can select from pre-defined static or dynamic moving patterns for each of the SDI outputs. Also available is a dynamic EBU Digital AV sync test pattern that has been designed to address a number of test and alignment requirements for audio and video signals. Testor lite 3G is an easy to operate and carry unit with a four-hour battery life. Techtel: (02) 9906 1488 or www.techtel.tv Lynx: www.lynx-technik.com
TVOne has launched of the Coriomatrix Mini, a 12-port scaler, format converter, audio router and HDBaseT extender all-in-one unit. The C3-310, Coriomatrix Mini is unique in that it uses modular hardware with five (or 16 with the larger 4U, C3-340) AV module slots that offer a wide mix of signal management options. It comes a new web interface which is accessible via the latest versions of IE, Chrome and Firefox. The unit is based on TVOne’s Corio2 technology and provides high quality, modular video matrix switching using firmware-based video routing, switching and video conversion platform. It also provides up, down and cross conversion between a variety of analogue and digital video formats. The unit features an optional, redundant, factory-fitted, internal PSU and power inlet. All the functions can be controlled via the web user interface, RS-232 or IP. Corsair Solutions: 1300 562 779 or www.corsairsolutions.com.au TVOne: www.tvone.com
ETC’s Source Four Mini LED, like its larger sibling, has interchangeable lens tubes providing optics in the field angles of 19°, 26°, 36° and 50°. It features shutters, a slot for an E-size pattern holder and a frame slot for a colour gel. It also has a rotatable barrel for challenging angles. The Source Four Mini LED comes in a track mount, a canopy mount and a portable version all with the transformer attached or hidden and is available in white, silver or black. The fixtures weigh only 1.2kg, so rated or genuine rigging points aren’t necessary. At 230mm long the Mini LED can fit into the smallest of corners and with a diameter of 63.5mm, fit through a very small hole. The Source Four Mini LED with its 12W LED is also brighter than a traditional tungsten fixture, which means there is no output disadvantage for better efficiency. The Source Four Mini LED is suited to restaurants, shops, museums, cafes, foyers, theatres and other small-scale applications. Jands: (02) 9582 0909 or info@jands.com.au ETC: www.etcconnect.com
• Get your daily news fix at www.av-technology.net
016
NEWS
Intuitive Graphical User Interface Advanced Room Management 4K, 3D support Forward and return audio HDBaseT TM and HDMI 1.4 integration Ready for DP 1.2
The 25G 160x160 matrix is now available in a compact 80x80 version
Visit us at stand F30
www.lightware.com.au
NEWS
017
DIGITAL MIXING FOR ALL - MIX WIRELESSLY VIA YOUR iPAD - HIGH QUALITY ONYX PREAMPS DL1608
- ON BOARD PROCESSING
FREE YOUR MIX
30 pin and lightning versions available
(iPad not included) DL806
Find your nearest Mackie DL dealer: www.cmi.com.au/mackie-dealers
Solid State Recorders Broadcast quality. Versatile. Durable
SS-R100
SS-R200
SS-CDR200
•
SD/SDHC and USB Slots
•
RS-232C and Parallel Control I/O
•
Coaxial S/PDIF & AES/EBU Digital I/O
•
24 bit continuous, single, programmed and random playback
www.tascam.com.au
018
NEWS
Highlights from InfoComm Las Vegas
MATROX WITH CRESTRON CONTROL
CHRISTIE PHOSPHOR PROJECTORS
WORK WITH LOOPWORKS
Crestron programmers can now use the Matrox Monarch HD Control API or the VS4Recorder API to interface Matrox products with Crestron 2-Series and 3-Series Room Media Controllers. Operators can then easily start and stop streaming and recording from within the Crestron interfaces. Matrox Monarch HD is a small, easy-to-use H.264 encoder designed for professional video producers who need to simultaneously stream a live event and record a mastering-quality version for post-event editing. From any HDMI input source it generates an H.264-encoded stream compliant with RTSP or RTMP protocol, while simultaneously recording a high-quality MP4 or MOV file to an SD card, a USB drive, or a network-mapped drive. The VS4Recorder is a multi-camera recording app that comes bundled with Matrox VS4 quad HD capture cards. New Magic Australia: (03) 9722 9700 or www.newmagic.com.au Matrox: www.matrox.com
The new Christie GS Series of laser phosphor projectors provides 20,000 hours of operation and eliminates the need for lamp and filter replacements. The solid-state illumination, high-resolution, one-chip DLP laser-diode projectors come in WXGA, HD and WUXGA resolutions and offer a cost-effective solution with colour matching, optional blending and warping for curved surfaces. The Christie GS Series is designed for fixed installation applications. Features include wireless connectivity and a suite of optional lenses for more installation flexibility. Input options include Display Port, HDMI, DVI and HDBaseT. The GS Series provides images of up to 5400 ANSI lumens with picture-in-picture functionality. You get a choice of white or black shell. The Christie DWU555-GS, Christie DHD555-GS and Christie DWX555-GS ship in August. Christie Digital Systems Australia: (07) 3844 9514 or www.christiedigital.com
Ampetronic released Loopworks, a package of tools and systems with fully-integrated expert support that promises to transform working with hearing loops at all levels. At the heart of Loopworks is an online interface that gives rapid access to a suite of knowledge and tools, including measurement systems, design tools, training materials, an Ampetronic knowledge base and rapid access to support for your projects. A back-end web tool automates the process of collecting data, creating certification or test reports and direct access to support from loop experts. The new system can operate both as a sophisticated test platform when installing loop systems, and as a cost effective tool for regular monitoring and maintenance by venue operators or maintenance companies. Ampetronic is also opening a Beta trial for its Loopworks Designer – a tool for the design, analysis and output of induction loop designs. Hills: 1800 685 487 or www.hills.com.au: Ampetronic: www.ampetronic.com
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CM
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CMY
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36K FROM BARCO
BARCO PANEL SHOW
ANALOG WAY LAYERS IT ON
Barco has revealed a 35,000 lumens, native 4K projector for rental and staging. The brand-new threechip DLP HDQ-4K35 is capable of showing native 4K content at 60Hz frame rates. It features an integrated design with internal power supply, rental frame and no external chimney fan. The HDQ-4K35 is ready to be combined with Barco’s 4K screen management system, which allows native 4K projector blending – Barco is claiming this an industry first. Rental companies that already own a fleet of HDQ-2K40 projectors can reuse their XLD lenses for the HDQ-4K35 projector or opt for dedicated 4K lenses if higher lens shifts are needed to achieve the right image. Barco: (03) 9646 5833 or www.barco.com
Barco has introduced a new range of tiled, ultra-narrow bezel LCD video walls. The full-HD 46-inch and 55-inch LCD panels have light outputs of 700 and 500 cd/ m², plus the OverView OVD-4621, OverView OVD5521 and OverView KVD-5521 also offer a bezel size of 3.5mm. With this release Barco is introducing its SenseX automatic colour and brightness calibration technology. The SenseX solution uses built-in sensors within each panel to accurately detect the brightness and colour performance of each screen in real-time. The calibration process can be run in the background. To further reduce noise and increase LCD panel life, several temperature sensors are embedded in the LCD panels to help regulate fans. The new LCDs are Energy Star 6.0 compliant and consume less than 0.7mW in low power mode. For control room, signage and meeting room applications, the LCD displays have an embedded application processor. Barco (03) 9646 5833 or www.barco.com
Analog Way has unveiled a new feature developed for the Ascender 48: real-time perspective layers. Compatible with computer and video sources, this feature allows creation and animation of layers with a virtual viewing perspective in real time. The perspective layers can support the same seamless transition effects as any other layer. Using the Preview/Monitoring output of the Ascender 48, the operator can display the perspective layers in real time in order to see and arrange all layers and presets as desired. Creation and management of the perspective layers can be managed without limitation directly from the Ascender 48’s Web RCS, a user-friendly interface designed to fully prepare a show and control it live. Equipped with 48 scalers, the Ascender 48 is a 12x4+1 multi-screen seamless switcher offering mixer, hybrid, hard edge and soft edge configurations to fit any application. Quinto Communications: (03) 9558 9377 or www.quinto.com.au Analog Way: www.analogway.com
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NEWS
Highlights from InfoComm Las Vegas
GO FOR PROGRID
FUSION FROM JUPITER
LIGHTWARE EXTENDERS
Clear-Com has announced ProGrid, a synchronous, optical fibre transport system. ProGrid is based on the open AES3 and AES10 (MADI) standards, providing routing and format conversion with full management and diagnostic capabilities using the Optocore and SANE technology. A versatile, modular approach offers AV system users flexibility to size the system to match the demands of a specific production or installation budget, and to manage future expansion. The product portfolio includes a range of fibre interconnected audio, intercom and video real-time distribution products that include different I/O options such as mic inputs, line I/O, AES, MADI, four-wire intercom, sync, serial and Ethernet. Jands: (02) 9582 0909 or info@jands.com.au Clear-Com: www.clearcom.com
Jupiter Systems introduced the Fusion Catalyst 4500 Display Wall Processor. Combining the latest graphics processing technology, support for up to 24 output channels, up to 48 input channels, and quieter temperature-controlled fans, all in a 3U platform, the Fusion Catalyst is suitable for small- and midsize walls, such as those used in conference room applications. As with all Fusion Catalyst products, users can run mission critical applications directly on the display wall processor. With an Intel Xeon sixcore CPU (with an option for another), Windows 7, up to 192GB RAM, and hard disk storage options, all applications are supported. The Fusion Catalyst 4500 supports both Canvas and ControlPoint. Jupiter’s ControlPoint software provides an object-based drag and drop interface for control of a single display wall. Canvas, Jupiter’s distributed collaborative visualisation solution, enables users to share sources and collaborate anywhere, on smartphones, tablets, PCs, and display wall processors. Image Design Technology (IDT): 1300 666 099 or sales@idt.com.au Jupiter Systems: www.jupiter.com
Lightware Visual Engineering has begun shipping its UMX-TPS product family, featuring HDBaseT extenders with stand-alone, under-desk mount and wall plate models. These devices transmit digital video at resolutions up to 4K, and audio and control signals up to 170m over just one CAT cable. The UMX-TPS-TX140 extender transmission unit can connect to a single receiver or any of Lightware’s matrix switchers via an HDBaseT board. The extender features VGA, HDMI, DisplayPort DVI-I inputs with a single HDBaseT output for a 4x1 video switch combined with signal extender. Converted analogue audio and video is transmitted on the same CAT cable along with remote power, Ethernet and RS232. All UMX-TPS products handle HDCP encryption. Using the factory, custom or transparent EDID emulation, users can fix and lock EDID data on each input connector. Advanced EDID management forces the required resolution from any video source and fixes the output format conforming to the system requirements. Lightware Australia: (02) 9476 8850 or sales.anz@lightware.eu Lightware: www.lightwareusa.com
COLOURFUL CONFERENCING
ROAD READY 35K CHRISTIE
LATEST LUMINEX
Earthworks has introduced the IML LumiComm Touch Ring microphone range designed for permanent tabletop installation. Integrated into the mic, the LumiComm Touch Ring consists of a dual-colour LED light ring and a touch sensor output for monitoring and control via a media control system. The IML microphone is a back-electret condenser that features a cardioid polar response and a flat 30Hz-30kHz frequency response, allowing orators to maintain the same intelligibility at the front and sides of the microphone without a reduction of high frequencies. IML models ship standard with RF shielding, cardioid polar pattern, 115mm body, black finish, touch-sensitive surface and dual-colour (red and green) LED light ring. Audio Chocolate: (03) 9813 5877 or www.audiochocolate.com.au Earthworks: www.earthworksaudio.com
Christie has announced the Roadie 4K25 and Roadie 4K35. Ruggedised and designed for rental staging, the Roadie 4K25 and Roadie 4K35 three-chip DLP projectors deliver 4K (4096 x 2160) resolution at 60Hz – with an optional 120Hz capability – and 25,000 and 35,000 lumens respectively. The projectors are equipped with Christie TruLife proprietary 1.2 Gigapixel per second processing and built-in image warping and blending to deliver high brightness, high-resolution videos and graphics. Utilising the optional robust rigging and stacking frame, the Christie Roadie 4K series are designed for large-format visual spectacles such as location-based entertainment and projection mapping. Full connectivity is provided with standard DisplayPort and 3G-SDI input modules. Christie Digital Systems Australia: (07) 3844 9514 or www.christiedigital.com
Luminex Network Intelligence has introduced the latest member of its product family, the GigaCore 16RFO Ethernet switch, specially tailored for touring applications and designed with the input of key industry players. The unit brings all the functionality of the GigaCore Ethernet switch range to a custom touring package. The 2U device offers rugged optical connector options, including OpticalCon, which can be set at the front or rear of the unit, for a flexible solution. A full back up power supply is available for true redundancy at the power level. A redundant PoE supply kit is also available as an option. Clearlight Shows: (03) 9553 1688 or sales@clearlight.com.au Luminex: www.luminex.be
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Christie Display Technology Impresses the Crowds at Barfoot & Thompson’s 90th Extravaganza
Photo courtesy of Spyglass Group Ltd
A total of 24 Christie Roadster Series projectors create spectacular 360-degree projection mapping at the real estate company’s celebratory event in Auckland, New Zealand.
Christie’s New Zealand partner Spyglass installed 24 Christie® Roadster S+20K 3-chip DLP® projectors to create a stunning 360-degree projection mapping on four walls surrounding the banquet hall, which covered an area of 300 meters at Barfoot & Thompson’s 90th birthday bash. The exciting visuals produced an immersive impressive projections ended the event in a literal big bang. When you are the leader in visual projection, you have the solutions to meet the most challenging setting. From the smallest of meeting rooms to the most sophisticated virtual reality and simulation systems, Christie delivers the right visual solutions backed by the best in customer service. possible and seemingly impossible location and application need.
www.christiedigital.com
Visit us at Integrate 2014 #F66
USA ph: +1 714 236 8610 sales-us@christiedigital.com
CHINA-SHANGHAI ph: +86 21 6278 7708 sales-china@christiedigital.com
JAPAN ph: +81 3 3599 7481 sales-japan@christiedigital.com
SINGAPORE ph: +65 6877 8737 sales-singapore@christiedigital.com
INDIA ph: +91 80 6708 9999 sales-india@christiedigital.com
CHINA-BEIJING ph: +86 10 6561 0240 sales-china@christiedigital.com
KOREA ph: +82 2 702 1601 sales-korea@christiedigital.com
AUSTRALIA ph: +61 (0) 7 3624 4888 sales-australia@christiedigital.com
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NEWS
Integrate 2014 Leads with Education The corporate, venues and events, and government and military sectors continue to dominate the APAC AV markets, representing 30%, 14% and 12% respectively. By 2017*, these figures are predicted to surpass those of North America. How these sectors consume and implement AV technologies will be the core focus of upcoming tradeshow Integrate’s deep-dive seminar tracks hosted by event partners, InfoComm International and CEDIA. Held on the 26-28 August at Sydney Showground, Sydney Olympic Park, InfoComm and CEDIA are offering 35 robust sessions lead by local and international speakers, with over 400 collective years of AV experience, giving delegates a global insight into emerging AV trends. For more information about the educational components on offer at Integrate and for free registration, please visit: integrate-expo.com *Statistic taken from the Global AV Market Definition and Strategy Survey at InfoComm 2014.
CEDIA Training Highlights
InfoComm Education Highlights
Business Growth: Future of eHealth 2pm–3:30pm, Wednesday 27 August eHealth, a broad term coined in the late ’90s, is now synonymous with electronic health records and electronic or digital processes. Today, eHealth encompasses a range of services or systems that are at the leading edge of medicine and information technology. This training session, hosted by field expert and thought-leader Dr George Margelis, gives attendees a rare insight into the future healthcare patient experience.
Unleashing Audiovisual Performance Testing, The New InfoComm Standard 10:30am–11:30am, Thursday 28 August International standards contain state-of-the-art know-how accessible to all. The standards empower companies by providing a template to gain greater time and resource efficiency. National ICT Manager of Norman Disney & Young, Richard Morrison, details the processes of standard and tailored Australian AV projects that have been successfully implemented using the standards outlined in the Guidebook. A great introduction to the tools and techniques that are available, and an outline on how to apply InfoComm standards to business and AV projects, this training session is a ‘not-to-be-missed’ event.
Emerging Trends: The Home Automation & Energy Efficiency Revolution 1pm–3pm, Tuesday 26 August Apart from the perks of a fully automated and remotely controlled home – including electrical appliances, theatre systems, heating and cooling; sustainable living has emerged as the true hero of smart building innovation. Home Automation & Energy Efficiency Revolution by Graeme Philipson, Research Director of Connection Research, breaks down key market trends in home automation and energy efficiency and sustainability over two intriguing sessions. The ‘democratisation’ of new device types, in favour of low cost (and low margin) consumer products, will be discussed alongside the integration of home energy management as a primary component of home automation. View the full CEDIA Training program at www.integrate-expo.com/seminars/cedia-training
Room & Spatial Planning for Audiovisual Systems 12pm-1pm, Wednesday 27 August Today’s communication landscape reveals an ever-growing reliance on telecommunication, and video and teleconferencing in the home and workplace. The impact has resulted in a rapidly changing requirement of meeting, working and learning spaces. In this training session Ben Moore, Senior Consultant at Arup, an independent firm of designers, planners, engineers and consultants, will explore the fundamentals of room and spatial planning. The presentation will offer a firm handle on the principles of room planning, bandwidth implications, display types and overall system design requirements. Corporate, conference and education sectors will gain real value from this seminar. See the full InfoComm Education program at www.integrate-expo.com/seminars/infocomm-education
About Integrate: The annual gathering of over 5000 leaders and professionals in AV and Systems Integration will fall on Sydney Showground, Sydney Olympic Park on 26-28 August for the Integrate trade event. The show floor this year comprises a robust exhibition, three seminar tracks, and a free interactive education program. Packed with over 500 brands including some of the AV and IT industry’s largest global names, the Integrate Exhibition offers visitors the chance to sample new solutions, get hands-on training and learn from esteemed industry leaders.
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FEATURE
Intensely Vivid Sydney’s wintertime Vivid Festival continues to pick up momentum Text:/ Paul Collison
Virtual paint being tipped over the sails of that building. Photographer: James Horan.
It's hard to believe that the Vivid Festival in Sydney is already in its seventh year. From very humble beginnings, where a piece of snake light in a tree was passed off as Art, Vivid has grown to become one of the biggest arts festivals in the southern hemisphere. This year, the festival has expanded to include areas such as Martin Place, Darling Harbour, The Star casino and even Sydney University, all on top of the wellestablished Circular Quay area. The broadening scope of the festival is part of Destination NSW's goal to increase foot traffic in the CBD and most importantly, fill empty hotel rooms and restaurant tables at an otherwise slow time of year. Judging by this year’s crowd, the festival was another huge success. I went for a walk around the festival with my family, to get a punter’s perspective and for one of the first times, actually partake in the festival. First stop on the tour was the Opera House. HOUSE RULES
There is no argument that the highlight of Vivid is the lighting of the sails on the Sydney Opera House. The usually drably-lit sails are sensationally transformed to become a visual
centerpiece of the festival. It is easy to take this for granted, as we see the Opera House used as a projection surface often throughout the year for various special events. The ability to deliver such a project is one that only a few AV specialists are capable of. For the sixth year in a row, The Electric Canvas (TEC) have provided both the projection and replay systems for the event. Peter Milne, managing director of the company, has a long history in projection and light control. His extensive experience and detailed understanding of the medium of light, is the key to maximising light level and controlling overspill (often described as light pollution). Milne proudly points out there was no light spill or intrusion into the building spaces anywhere in the Opera House. Great care is taken to make sure the projection from the Overseas Passenger Terminal, some 420m away from the sails, is accurate down to the millimeter. In fact, the projection alignment on the sails is so accurate and detailed, that each tile can be individually mapped and form part of the content. The texture of the tiles on the roof becomes an important part of the image mapping. Architectural templates created by TEC and
3D model survey data was sent to UK motion graphic company, 59 Productions, who were engaged as content creators for the 2014 festival. Drawing on experience from events such as the 2012 London Olympic Games ceremonies and a plethora of theatrical events, 59 Productions used some unique approaches when building this year’s content. SCALING THE OPERA HOUSE
Using the 3D model data, they constructed a scale model of the SOH in their home base London. This not only allowed them to test their content on a real-life model, but it also meant they could film the model engaging with elements such as water or paint and obtain a more organic feeling with the dynamics of their content. By throwing paint at the model, or showering the model with water, 59 Productions could film the effects and then use that footage as part of the 15-minute show. They even used MA Lighting’s offline lighting visualisation tool, grandMA 3D, to illustrate lighting effects directly on a virtual model inside that program, and include them in the narrative. All these approaches combined for a truly stunning show.
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Top: Gamma World on the façade of the MCA. Above: Move This House on the façade of Customs House. Two of TDC's eight projection projects for Vivid. Images courtesy of Technical Direction Company.
Unfortunately, the soundtrack for the show was barely audible on the Opera House Western forecourt, however once you snuggled up next to a loudspeaker, the soundtrack added a great deal of context to the animation and enhanced the project immensely. The projection rig consisted of 15 x Christie 20K projectors driven across four source channels of video. One other fascinating fact is the speed at which the Electric Canvas can build the system. Arriving on site at 2pm, the system was installed, lined up and ready within five hours, allowing content to be reviewed on the sails later the same night. TEC’s discreet lineup strategy also meant that touchups to the alignment could be made each day at dusk, prior to the show commencing, without the need for garish lineup grids to be thrown about the sails. AROUND THE QUAY
Gathered around Circular Quay were quite a number of installations, varying in both scope and quality. The MCA (Museum of Contemporary Art) mapped projection installation Gamma World was an interesting techno journey. The content was designed and constructed by
the Sydney-based Spinifex Group, while the hardware platform was designed, installed and operated by projection, and all-round video specialists, Technical Direction Company (TDC). Again supported with a disappointingly-low level sound track, the dynamic of the display couldn’t truly be appreciated until you could immerse yourself in the complete audio and visual experience. It was a very intense show and quite different from others of the same genre. Although the experience was more enhanced on close-up viewing, the MCA really stood out when viewed from across on the eastern side of the Quay. Over at Customs House, TDC and French content design firm Danny Rose were back again for the more dance-oriented show Play Me. Theoretically it was a show that had the ability for interaction from a dancer on a podium. The public could take pride of place on the podium and ‘play’ the façade as though it were an instrument. It was a little difficult to observe just how much playing was actually happening, though a comment from a performer summed it up: "I don't know if it actually did anything, but I had heaps of fun!"
BROAD SWEEP
Looking around the vista that is the greater Circular Quay, the displays ranged from phenomenal to almost gaudy. The treatment on the Cahill Expressway and ferry terminals was rough at best. There seemed to be excessive light pollution and spill, not only off in to the sky, but also in the eyes of those walking the precinct. The lasers randomly splashing buildings with Congo blue splattered on them were underwhelming. With such a great canvas and the available technology, it is amazing that the Quay is not a coherent and sophisticated display. Moving away from the Quay toward Martin Place along the Vivid Light Walk, many of the local businesses had got aboard the Vivid bandwagon. The Intercontinental hotel had a pleasant colour-changing façade. Some convenience stores got in on the action with LED pars in windows and even construction sites didn't pass up the opportunity to contribute to the festival with big colour washes up skeletal building structures.
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Left: Harbour Lights – RGB LEDs meet geofencing as harbour vessels change colour to match their location. Image courtesy of Destinations NSW. Top right: The whole of Circular Quay area now lights up in the spirit of Vivid. (Photo: James Horan.) Above right: The Star casino dressed up for its Vivid debut in 2014. (Image courtesy of The Electric Canvas.)
CONCRETE FOREST
Martin Place, an area that again is normally completely-unimpressive by night, blossomed under some Vivid love. Designed and animated by Ample Projects, the Urban Tree projection on the MLC building tower had some very clever content mapped on the façade with Coolux Pandoras Box. [See the front cover]. This engaging tale of a tree growing with birds and wildlife in abundance made for some wonderful visual moments. The content was incredibly sympathetic to the physical structure of the building and played beautifully with the architecture. For this writer it was definitely the highlight of the festival. The five-minute show had many festivalgoers transfixed. Although relatively modest, it was the simplicity of the concept and the animation that made the installation so beautiful. Oracle Attractions had an interesting laser display, Beneath The Beams, running the entire length of Martin Place, from George Street to Macquarie Street. A really impressive part of that piece
was the distributed haze system that consisted of a hazer in a box at ground level, with plastic piping directing the haze up street light poles and releasing it into the air at a height of 4m or so. This allowed the aerial effects in Martin Place a chance to bloom, and offered other displays some particles in the air on which to play. Elsewhere in Martin Place, self-described UK ‘light artist’ Simon Brockwell created a light sculpture entitled Sky Flower, which was created with a variety of Robe lighting fixtures supplied by Canberra-based production house Elite Sound and Lighting. The Sky Flower was an aerial light sculpture composed from a mixture of Robe LED and discharge sources, with the Robe MMX Blade simulating the stamen of the flower. The installation, which was set to several music tracks, was designed to be appreciated from a distance, and for a more immediate audience. DARLING HARBOUR DELIGHTS
Further afield in Darling Harbour, worldrenowned Aquatique Show were engaged to present one of their signature water, laser,
light and pyro shows. With a long-established foothold in this genre, the French-based company yet again show why they are the best in the world at what they do. Based on the Louis XIV’s Water Garden in Versailles, the installation was best viewed from the southern end of Darling Harbour, though it still had great effect from Pyrmont Bridge and the Northern end of Cockle Bay where arguably more people stopped each hour to view the shows. Sydney-based content creation company Digital Pulse provided the content for the five themed shows that played in rotation throughout each night of the two-week festival. The themes for the displays were Sydney Dances, The Night Fantastic, Love, Joy, and Women Rock. Digital Pulse had only eight days in which to create the 25 minutes of content for the five pieces. Not that you could tell as each performance was wonderfully crafted and integrated particularly well with the scenic elements of water, light, pyro and audio. Aquatique Show was well supported by Oracle Attractions and TDC who helped deliver the performances. Also in Darling Harbour, the Novotel and the
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Spray & Mirrors: Aquatique Show stage a their aquatic magic with fountains, pyros, lasers and projection in Darling Harbour. (Photo: Rodney Campbell.)
Ibis hotels got in on the Vivid action by lighting their façades with LED washes. The Australian National Maritime Museum, to the north of Pyrmont Bridge, presented Aquatic Nights, with the museum’s iconic rooftop as the canvas for a compelling animated presentation set to a bespoke soundtrack. TEC was commissioned to create a four-and-a-half minute original projection inspired by the Museum's Whale Season exhibitions. The show, which could be viewed from various locations around Darling Harbour, was played back from the Museum’s own external projection system that TEC designed and installed for them in 2012. STARS COME OUT
The Star casino entered the Vivid fray for the first time this year. The entire façade of the Astral tower was lit by five 26K Barco projectors and five 20K Christie projectors across ten streams of video. Again provided by TEC, the façade was a challenge to map and came with its share of stakeholder sensitivities. Milne pointed out that there are 128 room windows on the façade
that needed to be carefully masked so as not to disrupt the expensive views or affect the sleep of VIP guests. He said with glint of pride, "We knew every room number associated with each window, so if we had a complaint we could adjust the mask for any given room quickly and easily without risk of affecting other windows”. To their credit, TEC received not one guest complaint, even during the initial projector line ups. A BRIDGE TOO FAR?
To complete the circle, one could not pass through the harbour, or even be on the western foreshore, without seeing the installation from 32 Hundred Lighting on the old coat hanger. Colour The Bridge, was designed by 32 Hundred founder and lighting designer, Iain Reed, who used 100,800 custom LED fixtures to illuminate the Western Side of the bridge. The rig was controlled from a bespoke interactive system that allowed the public in front of Luna Park, to ‘paint’ the bridge in their own colour scheme. This system was left in place after Vivid so Sydney could (hopefully)
celebrate a State Of Origin rugby win by turning the bridge blue. Not content with merely lighting up Australia's most recognised icon, 32 Hundred were also responsible for the more subtle, but ever-so-tricky Harbour Lights. Attaching RGB tape light, snake light and more, to various vessels that traverse the harbour every day, 32 Hundred utilised geofencing technology to define areas around the harbour. Each area was then allocated a specific colour. GPS units integrated with the RGB control systems in the vessels thus allowing the water taxis, ferries and charter craft to automatically change colour, according to their location within the harbour. It's a simple trick and one that probably went un-noticed by the greater public. Then again, it is tricks like these that are often the best! INSIDE THE HOUSE
A significant part of the event, is the Vivid Live festival at the Sydney Opera House. Curated once again this year by Fergus Linehan, the artists are many and varied, and step boldly outside of the
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normal day-to-day Opera House fare. I've been lucky enough to be the Vivid Live festival lighting designer for the past four years. Among a host of offerings, this year’s line-up included The Pixies, Lauren Hill, Midlake, and a tribute to great disco legend, composer Georgio Morodor by the Heritage Orchestra, with an appearance and DJ set from the man himself. The Studio and Western Foyer of the Opera House were transformed in to a club and a bar respectively. Both areas certain to have raised an eyebrow from Opera House architect Jørn Utzon. One of the highlights of Vivid Live 2014, was the touring production of Timeline. An audiovisual journey across 40,000 years of music history, the show was performed by the Australian Chamber Orchestra and pop band The Presets under the control of creative director Richard Tognetti and Vivid creative advisor, Ignatius Jones. With video content created by Sydney content firm, Digital Pulse, the twohour show was not only an epic musical journey through almost 200 pieces of music, but a visual one with content developed from a combination of original artwork and photography, with fully-animated content to support the more contemporary sound of the Presets’ mash-ups. For me, the most exciting part of a
FEATURE
programme like Vivid Live, is seeing the Opera House visited by festivalgoers who would never usually attend a show there. It is particularly satisfying to see the venue being used in fresh and interesting ways that breathe new life in to the 40-year old building. It is easy to be swept away by all the media and press release hype proclaiming the huge success of the Vivid festival, but to all intents and purposes Vivid is a huge success and achieves exactly what it sets out to do. Sydney is certainly not a particularly well lit city. Outside a long-exposure photo from a stills camera across the water, the Bridge and Opera House are flat and under lit. It is great, that for at least two weeks of the year, we get to shake that up a bit. Thanks to Vivid. More Information: The Electric Canvas: www.theelectriccanvas.com.au Technical Direction Company: www.tdc.com.au 32 Hundred Lighting: www.32hundredlighting.com Oracle Attractions: www.oracleattractions.biz Aquatique Show: www.aquatic-show.com Spinifex Group: www.spinifexgroup.com Digital Pulse: www.digitalpulse.com.au Ample Projects: www.ampleprojects.com
Top: 32 Hundred Lighting’s immense RGB LED rig colours the Harbour Bridge. Above: A politician’s photo opportunity as he ‘operates’ the bridge painting touch interface. (Images courtesy of Destination NSW.)
TUTORIAL
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FEATURE
AV House Call Federation Uni’s Simulated Home Environment Learning Space brings health science teaching home.
2014
Text:/ Christopher Holder
There’s nothing quite as real as reality. And when it comes to training our aspiring health professionals real-world education and training is paramount. But before we let our nurses and paramedics loose on real-life humans with real-world maladies, the next best thing is sophisticated simulation spaces. Recreating a hospital bed with all its attendant technologies and ‘machines that go ping’ is a tried and tested teaching device. Federation University Australia’s School of Health Sciences Nursing department wanted a simulated domestic space for its nursing students. Essentially, they wanted to place students in a home visit context as realistic as possible. The initial sketchups sent to Ashley Pinder (the uni’s Standard Operating Environment Coordinator, Client Technology – ICT Services) were quite literal: effectively, a cross-sectioned weatherboard house placed at the front of a lecture theatre. After a site was found, Ash set about determining the AV requirements and how to shoehorn those requirements into the modest space. Some months later, almost as a ‘while we’re at it’ adjunct, the ‘Accident Room’ was proposed, comprising a decommissioned ambulance, and a beat up ol’ Ford Laser, for paramedic students to hone their chops. Sharing the same building, the Accident Room joined the AV spec. Ash then turned to the university’s long-time collaborators, ProAV Solutions (née IBS AV). Eventually dubbed the Simulated Home Environment Learning (SHEL) Space, the facility was ready for the beginning of the 2013 academic year and given an honourable mention in the 2013 AVIAs. DOCTORED HOUSE
The best way to understand the SHEL Space’s AV is to describe it in action. The room accommodates 60-odd students all ranged in front of the SHEL Space. In the top corner is a desk for the simulation co-ordinator. A Simulation Mode on the Crestron touchpanel readies the space — lights on, PTZ cameras enabled, amplifiers and in-ceiling speakers switched on.
A scenario is decided on. Let’s say, for example, a patient is ill in the SHEL bedroom. That room will be highlighted, and motorised blinds can obscure the other spaces from the students’ gaze (allowing the next scenario to be set up without distracting the room). Let’s say there are two actors in the bedroom – one ill in bed and a carer. Both actors will be fitted with a Revolabs wireless lipstick mic pack. Unconventionally, the Revolabs system is used for personal monitoring purposes, with the unit belt-clipped and a earpiece connected to the unit’s minijack output. The simulation co-ordinator can speak directly to each earpiece channel via an Australian Monitor gooseneck microphone station. “Have your seizure now,” for example. Alternatively, the co-ordinator can speak to the entire bedroom (Big Brother-like) through an inceiling speaker. As the scenario plays out the co-ordinator can focus one of the nine Vaddio HD PTZ cameras within SHEL. The Vaddio cameras have 18x optical zoom – enough to see the a patient’s eyes roll back in their heads. A Crestron camera joystick controller provides single-button access to each of the cameras along with PTZ control. The co-ordinator can cue up a camera on the local monitor and once fine-tuned throw the image to the room, where two LCDs relay proceedings to the students observing. HEALTHY AV
Full floor-to-ceiling glazing separates the simulation from the students observing. The glass provides a good degree of separation. Within SHEL you feel immersed in the domesticity of what could easily be your grandparent’s family home. The television is on, the plumbing is operational, in fact all of the appliances are functional. It’s enough to give yourself over to the scenario. Beyond the glazing, the auditorium can hear the scenario play out via an Audix M40 conferencing-style cardioid microphone mounted in the ceiling. A pair of Quest eight-inch two-way PA cabinets take care of sound reinforcement in the room. A Crestron Capture HD unit allows the digital video feed to be recorded for ‘coaching and quality’ purposes, and thanks to a firmware upgrade also packs a streaming feature, which
Ash is pleased with, even if the necessity to use it hasn’t arisen yet. Once the scenario is complete, the room can be set to Lecture Mode, where motorised blinds close on the windows, a 120-inch LP Morgan Grandview screen drops from the ceiling, and the Sony projector (“we’re about to upgrade to the Sony VPL-FHZ55 laser model, mainly for its instant cool-down as well as extended ‘lamp’ life”) sparks up. A Williamsound IR hearing augmentation system rounds the room out, which apparently hasn’t missed a beat and satisfied the building regulations authority for the building to achieve its Certificate of Occupancy. SHEL SHOCKED
Nothing teaches like experience, and the SHEL Space successfully includes many more students in that experience that would ordinarily be possible with conventional teaching methods. It’s an innovative facility borne from back-of-a-napkin sketches, and thanks to AV professionals doing their jobs and harnessing the latest technology, Federation University has something that’s truly the envy of the world. More Information ProAV Solutions: www.proavsolutions.com.au Vaddio (PTZ Cameras): www.vaddio.com Crestron: www.crestron.com Sony (Projector): pro.sony.com.au LP Morgan (Screen): www.lpmorgan.com.au Australian Monitor: www.australianmonitor.com.au Audix (Microphones): www.productionaudio.com.au
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SYSTEMS CRASH Adjoining the SHEL Space theatre is an accident simulation room for paramedical training. Populating the area is a decommissioned and donated ambulance (“the most expensive part was the brand new gurney”) and a donated bush-bashing Laser. ProAV installed microphones and cameras into the ambulance (near the driver’s end), to monitor the performance of students. The close proximity of the Vaddio PTZ cameras to the capture area proved challenging. Another ceiling-mounted Audix microphone monitors the room hubub, accompanied by an in-ceiling speaker for Big Brother-style talkback. The action can then be shown live to the screens in the lecture theatre next door – again, with audio.
The Joy of Sticks: A Crestron camera joystick controller marshals the Vaddio PTZ cameras. A PIP graphics processor allows multiple cameras to be displayed at any one time. The area is covered by a full in-ear (private) or zoned speaker (public) paging system to receive instructions from the simulation coordinator. Pro AV designed the table housing all the controls, user source equipment and preview monitor.
Home Sweet Home: The simulation house (above) is built at the stage area of a small lecture theatre and is visible via a floor-to-ceiling glass wall. Each zone is monitored by between one and three Vaddio HD PTZ cameras with video image displayed on 2x LCDs when in simulation mode or a single projector in lecture mode.
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20/20 Eurovision Every aspect of the AV production for the Eurovision Song Contest 2014 was lavish. Let's take a look at some of it. Text:/ Andy Ciddor
Let’s get it out of the way right now: the Eurovision Song Contest (ESC) has no artistic merit whatsoever. The songs range in quality from mediocre banality all the way up/down to totally unmemorable. And while they are by no means even the best pop songs from the countries forming the European Broadcasting Union (EBU), this hardly matters, as the contest results are decided by votes from the broadcast audience of around 125 million using a mechanism as representative and transparent as Australia’s senate preference distribution system. Despite (or perhaps because of) this, ESC broadcasts rate their heads off. This in turn has led to a 59-year cycle of one-upmanship between EBU members to stage the most spectacular broadcast ever. VENUE: COPEN AS BEST THEY CAN
The 2014 Eurovision AV Contest was staged in a former ship-construction hall at the Burmeister & Wain shipyard in Copenhagen, Denmark.
The venue was selected for its capacity to hold a vast set, all of the production and broadcast infrastructure, plus an audience of 10,000 on temporary scaffold bleachers. The only major structural work required was to remove a very substantial steel pylon from the centre of the production space. It turns out that pylon was no longer critical to the structure since they’re not hanging parts of ships from the roof anymore, just 272 tonnes of show. Despite the size of the venue, a further 15,886sqm (just under four acres) of Hoeker-style temporary pavilion structures were required to house production offices, crew rooms, dressing rooms, the media centre, etc. SET: CUBE THE MUSIC
Production designer Claus Zier took his inspiration for the set from a photograph of the prow of a ship under construction in the very hall that the show was being staged in. The set consisted of a hollowedout cube shape constructed from 124 steel-framed
2.5m high cubes. The cube walls enclose the two upstage edges of a 156sqm diamond-shaped LED stage floor that was bordered by a water-filled moat on the two downstage edges. The understage area, which continued under the moat gave full access for crews to set and strike pyros, flames, atmospherics, electrics, props and even TV cameras through stage traps and portals in the moat. A section of cubes in each of the set walls was hinged to swing open as double-doors onto the stage to enable the extremely fast scenery and talent turnarounds required for this very tight live-to-air production. To expedite turnarounds all stage markings for sets and talent were programmed into scene-change images in the LED floor, much neater, and cooler, than 40-odd sets of coloured tape marks. Behind the cube set was a monolithic 114m wide by 12m high video backdrop. Although the cube set looked very clean, sparse and uniform, 10 of the cubes actually included transparent polycarbonate decks for
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Nothing Exceeds Like Excess: Thousands of beams through cubic kilometres of haze, disappearing projection surfaces, an interactive LED floor, 1700sqm of LED backdrop, flying cameras, and enough audience lighting to cover the main stage for a half a dozen live concerts. Imagine what it would have been like if they'd had a big budget. Photographer: Ralph@Larmann.com
talent to work on. Polycarbonate panels backed with self-adhesive Smart Tint film were fitted to the on-stage faces of the 70 of the most-central cubes. The smart Smart Tint film in its rest state is effectively transparent, but when energised it becomes sufficiently translucent to provide a projection surface. Whilst the film is not a perfect projection material, some judicious adjustment of projection positions and shot angles eliminated any projector hot spots from showing on air. The frame of each cube was outlined with customconfigured, pixel-addressable Martin VC-25 RGB LED stripping. The 5500 LED strips were driven by 16 of Martin’s P3-200 video system controllers that received their video input from the d3 media server network. LIGHTING: 3000 FIXTURES
To avoid mid-air collisions with the two wiresuspended Spidercam rigs operating over the stage area, no trusses could be flown below 30m
during broadcasts, which clearly had a major impact on the selection of overhead fixtures. For this show, the new generation of ultra-narrow fixtures became the only game in town. The nearly-3000 fixtures used in the production were provided by Danish production house [Lite] com, with quite a bit of help from PRG, who not only supplied 144 of its own Bad Boy fixtures for the rig, but also provided a further 800 fixtures, a couple of kilometres of truss and 150 of the production's 650 chain motors. The mix of equipment included quite a bit of gear from the until-recently-Danish Martin, but also many luminaires from Clay Paky, SGM, GLP, Vari-Lite, Showtec and four LED Source fours from ETC. Of course the followspots were Robert Juliat’s Cyrano and Aramis. It would come as no surprise in 2014 to learn that the control system comprised 7 x grandMA2 full-size and 2 x grandMA2 lite consoles driving 19 x NPUs (Network Processing Units) with show
pre-visualisation and blind editing running on MA 3D. The MA Ethernet network was based around 17 x Luminex GigaCore switches to provide four independent dual-fibre rings. ACOUSTICS: DOWN TO 1Hz
Terrified of repeating the acoustic disaster that was the previous ESC staged in Denmark in 2001, great care was taken with treating the acoustics of the cavernous concrete and steel structure of the B&W Hallerne. Starting with a reverberation time of 13.2 seconds in the untreated space, the acoustics team got the reverb time down to an intelligible 4s through the application of 60,000sqm of traditional black Molton cotton cloth in three and four layers around the walls to take care of the high-to-mid frequencies. The more troublesome low-frequency reverb was treated with a host of huge black cylindrical balloons (constructed like big air mattresses) suspended high in the roof space of the venue.
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A few of the fleet of grandMA2s running simultaneous sessions on the show. On stage, projection onto the cube surfaces is seamlessly blended with the content on the LED backdrop to enhance the depth of the images. Photographer: Ralph@Larmann.com
Only recently developed by Denmark’s Flex Acoustics, the AqTubes are designed to absorb frequencies in the pesky 1Hz - 63Hz range. AUDIO: 786x256 MADI MATRIX
While the audience is actually only present to provide shoot-off and foreground for the camera shots and applause effects for audio, it is however folly to treat them with disdain and provide them with inadequate, unintelligible or badly lip-synched PA, so they must be provided with a concert-quality PA that doesn’t impinge on the 5.1 broadcast sound. Audio contractor MOTO Rental engaged Rent-All to provide the PA system which was an all L-Acoustics affair using K1, K1-SB, K2, Kara, SB-18 cabinets, powered by L-Acoustics power amps driven by Dolby LM44 controllers. With the huge range of audio sources and different mixes required for PA, monitors and broadcast, this production was the first to use five of RME’s new MADI routers to create a 768 x 256 routing matrix to link the two Digico SD7s, the Digico SD10 and the two Midas XL8s used for monitors as well as routing outputs to the PA. Not only was the B&W Hallern an acoustic nightmare but the venue also turned out to be more than a little problematic for wireless signals. With 22 television channels already operating in the area and a building full of media and international broadcasters, spectrum allocation
for 96 channels of Sennheiser radio mics and the 28 channels of wireless monitoring was never going to be easy. However, the propagation characteristics of the steel-shelled building with its surprisingly-reflective, heavily-reinforced concrete floor and metal corners of the building that acted as additive in-phase signal boosters, produced a range of multi-path problems that required a great deal of experimentation with antenna placement and every bit of available receiver DSP power to process the incoming RF to extract the right signal. MEDIA SERVERS: HI VIZ
Audiovisual provider, Mediatec Solutions Sweden (the parent company of Mediatec in Australia) partnered with d3 Technologies to provide the video servers to pre-visualise, store, replay, map, process and distribute the production video content. The content production houses building the layers of content for the 40-plus acts (mostly in Adobe After Effects or Maxon Cinema 4D) were each provided with a d3 licence and a set of production templates to allow them to fully pre-visualise their material before shipping it to Mediatec in Denmark for ingestion and processing. One production house went so far as to provide a fully-sequenced d3 track ready to load and run. The server system consisted of a master d3 4U server (and its redundant backup/understudy)
at the control position in FOH, and four slave d3 4U servers (each with its redundant backup/ understudy) in the backstage production area. Each slave server had a dedicated application, one each being allocated to feed the cube LEDs, the LED backdrop, the cube projectors and the interactive LED floor. All of the slave machines fed their video outputs into a 32 × 32 Lightware matrix switcher, which then distributed video to the various display devices via fibre. PROJECTION: STACKS ON
Although the rise to prominence of the display panel and the LED module has taken some of the shine off big venue concert projection, there are still some image display tasks that just can’t be handled any other way. Projection on to the 70 translucent cubes in the set required some serious grunt to balance against the stage light levels and overcome the low optical gain of the Smart Tint film. Video supplier Mediatec pulled out the big guns for a head-on brute force attack, using 16 x Barco HDQ-2K40 (double stacked in portrait) for the 55m throw to the upper rows of the cube and 16 x Barco HDX-W20 (double-stacked below stage) for the 4m throw to the bottom rows of the cube. LED PANELS: TOUCH SENSITIVE
The impressive LED backdrop was constructed from 1170 of Kindwin’s Spider F-30 open-strip
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Above: Spike heels, but no stage spike marks required when you can plot it all into the scenechange image for the 10mm LED floor. Photographer: Sander Hesterman Below: Despite the rather intrusive presence of Steadicams on stage, they were invisible on this year's Eurovision broadcast. Photographer: Andres Putting
panels. Each 960mm x 960mm, 30mm-pitch panel consumes around 300W to drive its 32 x 32 pixel display, which comes to about 350kW for the backdrop. Used for the first time on Eurovision, the interactive stage floor was constructed from Mediatec’s new touch-sensitive tecViz BS10 480mm x 480mm LED floor tiles. The 10mm pitch, 12-bit, 48 x 48-pixel tiles have a surface of smoked-black, scratch-resistant, 8mm safety glass which can support a load of about 250kg. Weight sensors in the corners of each tile divide it into four sensing zones, and in combination with d3 media servers, the tiles provide live tracking of movement on their surface. “We did encounter some challenges as this is a brand new product to the market place,” explains Casey Bennett, Mediatec’s production manager for video. “During the initial load-in, the venue was at 6°C, but as the weeks went on, heating was installed (especially in and around the stage) and temperatures under the stage were topping 40°C. This gave us some serious heat-related problems, so we installed an extensive ventilation system to counteract this issue.” CAMERAS: DOES WHATEVER A SPIDER CAN
Camera coverage on the ESC broadcasts is another technology arms race that appears to gain momentum every year, with all kinds of gimmicks and doo-dads being tried on the
production. If you cast your mind back to 2009, you may recall the Steadicam operator who came roaring down the auditorium aisle on a Segway, stepped off it, walked up a ramp on to the stage then circled the talent, on-air the whole way, on a single shot. In the tradition of ESC, it was simultaneously impressive and pointless. Whilst ESC 2014 eschewed the use of a Segway, among its 22 cameras there were two wire-suspended Spidercams for the first time. A simple 2D Spidercam was used to track across the stage at variable heights, eliminating the need for some of the more outrageous camera cranes that have been used for the broadcast. The 3D Spidercam enabled shots from floor level to above set height over the entire set and much of the auditorium, providing a vast range of shot possibilities, and thankfully it wasn’t always used for moving shots. Just because a camera (or moving light) can move doesn’t mean that it has to move. Coordinating the movements of the two Spidercams to avoid entanglements and collisions took a lot careful choreography and planning which was aided by the use of a brand new piece of Danish technology, CuePilot software. CuePilot enables complex and accurate shot pre-plotting, allocation and automation for complex multicamera broadcasts. Camera shots are allocated on a timecode-synched timeline like a non-linear editor, and can be pre-plotted and rehearsed with rehearsal tapes or stand-in rehearsals, then used to
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More information: CuePilot: cuepilot.com d3 Technologies: www.d3technologies.com Flex Acoustics: flexac.com MediaTec Group: www.mediatecgroup.com Spidercam: www.spidercam.org/en
give camera stand-bys and execute precise source switching on air. What this brought to the ESC broadcast was a camera plot so well planned and rehearsed that there were virtually no cameras caught in shot during the broadcast. When was the last time you saw that on a production with fly-cams and especially Steadicams? Once again the 2014 Eurovision Song Contest show was a glorious victory of technology-driven spectacle over content. But that’s what you expected me to say.
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Herding Cats While Juggling Chainsaws White Night 2014: The logistical challenge of Melbourne’s staging of the international festival of light and sound. Text:/ Marcus Pugh
A staid old city in the throes of having one big night of audiovisual fun. Photographer: Scarecrow (Tim Seav)
It was late on Saturday night 22nd of February when I headed into the city to soak up what has become the must-see event on Melbourne’s cultural calendar: White Night. While I’d had a preview of what was on offer from my day job with Resolution X, which supplied much of the ‘boutique’ lighting, what I wasn’t prepared for was the behind the scenes teamwork between many of the Melbourne production companies involved in the event. For anyone who isn’t aware of White Night, I refer you back to AV Issue 31. In 2013, over 300,000 visitors flocked to the CBD to see the live performances, bands and more than 100 installations. This year the White Night team, headed by artistic director Andrew Walsh, raised the stakes, presenting over three times the number of attractions. The overall footprint of the event quadrupled, and the crowd increased to over 500,000 people. More attractions meant more artists, more crew, more lights, more projectors, more power, more rigging – in fact, it meant more of just about everything. And, naturally, having more of everything increased the need for more management to ensure seamless coordination on the night. A LONG DAYS JOURNEY INTO NIGHT
White Night is not the type of event that is thrown together a couple of days prior; it takes months of planning and preparation. For much of the lead up the production team was relatively small, but grew exponentially as the 22nd of February loomed closer.
As White Night technical manager Rohan Thornton brought to the job years of experience managing large live broadcast events like the Logies and Grand Final Footy Shows. However, he contends it was his experience as a volunteer firefighter with the Country Fire Authority (CFA) that best prepared him for this challenging role. Having managed fire crews through many bush fire seasons, including the infamous 2009 Black Saturday disaster, Thornton has often applied to the entertainment world the practical knowledge he’s acquired in dealing with fire emergencies. In fact, for White Night 2014, he employed a management technique straight out of the Emergency Services Handbook. The Incident Control System, or ICS, is a process used to manage incidents ranging from the small, such as a fire in a rubbish bin, all the way up to full-scale conflagrations. The technique relies on effective communication methods and the assignment of the right number of people to individual elements of an incident – or in this case, a festival. Remaining flexible as the conditions change is key. This approach enabled the 2014 management team to not only take in its stride the event’s increase in size and scope, but also to actually improve on a number of the 2013 festival’s conditions. BURSTING AT THE SEAMS
This year, the event took place over a much greater area to allow the crowds more space to move. Rather than being restricted to the south-eastern corner of the city (the area around Flinders Street
Railway Station, Federation Square and over the Yarra River to Southbank) as it was in its first year, White Night 2014 spread its creative reach from the Swan Street bridge in Richmond, up the length of Swanston Street, and all the way to Victoria Street in Carlton [see the map opposite]. Another organisational improvement was the introduction of a central technical hub. With access to the allocated event sites restricted to the two nights prior to the event, getting equipment to the individual sites was difficult. Thornton established the hub for equipment deliveries, creating a single distribution point for each of the 11 regions. The hub, known as the Boneyard, was located near Birrarung Marr, south east of Federation Square. This location was ideal as it was close to the majority of the regions, while remaining accessible to large vehicles – even when roads were closed for the event. With the event occupying so many different spaces that didn’t always fit the preconceived notions of a venue, the team negotiated access, availability of power and rigging with each individual venue. Thornton likened this scenario to “playing in many different backyards and having to play by each of their different rules” – a prospect that induces headaches in even the most seasoned project manager. POWER STRUGGLE
One such example of the coordination involved the multi-jurisdictional running of a three-phase cable to power the moving lights that lit the Princess Bridge. The closest available power was only 10 metres away in Federation Square, which
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NORTHERN LIGHTS
LUCKY DIP J+ R&B
SHADOWS
RAGS TO RICHES
WONDERLAND MIDDEN ALEX AND THE ENGINEER
THE VORTEX
TATTOOED CITY
Precinct map courtesy of the White Night Melbourne production office.
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is managed by Fed Square Pty Ltd. However the cable also had to be run across the pathway along the Yarra River, which is controlled by the City of Melbourne, and finally to the banks of the Yarra – an area managed by Parks Victoria. All three of these management groups have different rules and regulations as to how power cables need to be run. And this was just one 10m cable out of hundreds of kilometres of cable and cable trays required for the event! Unlike many gigs where the crew have the run of a venue for days or even weeks before the event, the White Night team didn’t have this luxury, with road closures needing to be kept to a minimum. The bump-in had to be carefully scheduled to minimise disruptions to the functions of the city. This is where the ICS management system really kicked into effect. The bump in started in earnest on the Monday night, with scaffolding towers being constructed to mount The Electric Canvas’ 14 x PIGI DDRA 6kW xenon large-format projectors along Flinders Street. Each night thereafter saw increasing amounts of activity around the city. It was amazing to see so many technical production companies working shoulder-toshoulder and sharing resources, all pushing towards the same goal. DIVIDE & CONQUER
The event was broken up into two main regions that were each managed by two technical coordinators: North, which took in everything north of Flinders Street all the way up to Victoria Street, and South, encompassing Flinders Street, Federation Square
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and stretching down to the Swan Street bridge and over to Queensbridge Street. Within these regions there were eleven precincts: Northern Lights was one of the most popular precincts. Large fire hoses created rain that was lit with Purple LEDs creating Purple Rain. Molecular Kaleidoscope, Virus One Billion Times, transformed the dome of the La Trobe Reading Room at the State Library into a technicoloured microscope, projecting images of viruses magnified a billion times. This event showcased the work of BAFTA and Emmy Awardwinning artist Drew Berry and composer Franc Tétaz using 12 x Barco 26k projectors supplied by Technical Direction Company (TDC). Lucky Dip was located at the Queen Victoria Women’s Centre in Lonsdale Street. This venue hosted ‘random’ theatrical encounters with some of Melbourne’s most adventurous performers. J+ R&B located in the Bourke Street Mall offered an all-night feast of live jazz, R&B, swing, boogie, ska and soul. Shadows precinct was positioned between Bourke and Collins Streets and contained some of Tim Winton’s The Turning, a unique cinema event created by Melbourne-based director–
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producer Robert Connolly. The project’s premise was 18 directors each interpreting a chapter of Tim Winton’s novel The Turning. Each interpretation was staged in a different location and guided by core themes. A few sites were even kept a secret from the audience, allowing them to discover a truly unique film experience. Rags to Riches, which took up two blocks of Flinders Lane, saw local lighting designer Phil Lethlean let loose again this year, with some laneway installation pieces that delighted audiences through the night. Wonderland was again the main showpiece of White Night, The Electric Canvas’s mapped projection transforming the buildings along Flinders Street. Included in this precinct was the Cabinet of Curiosities in the Forum Theatre. The Vortex took in sections of Southgate. The pedestrian bridge was transformed into to sci-fi inspired light tunnel, containing thousands of pixel-mapped LEDs. The Vortex was a crowd favourite on the night and for many a punter, warranted second and third visits as the tunnel pulsed and changed colours. Midden, located in Birrarung Marr, paid homage to the traditional owners of the land
and featured a 360° projection onto 350 tonnes of recycled concrete. This installation blurred the line between the virtual and physical environment. Alex and the Engineer occupied the Alexandra Gardens and was this writer’s personal favourite precinct of the night. It featured Paul Collison and Russell Goldsmith’s Crepuscular Beam with 26 x 7kW xenon searchlights (which you can read more about in AV Issue 38). This precinct also contained the surprise hit of the festival, Monuments, by acclaimed projection artist Craig Walsh using a half a dozen Barco 22K projectors from by TDC. Striking because of its simplicity, the slow projection of faces across the trees over the Yarra created a memorable illusion. “A lot of my works do deal with portraiture because it’s sort of creating artwork that looks back at the viewer,” Walsh told The Age newspaper. The Alexandra Gardens also hosted marathon sets by local experimental instrumental act Television Sky, who create ‘sculptured soundtracks for movies that are yet to be made’. Tattooed City precinct covered the National Gallery of Victoria International and the Arts Centre. Artistic Director Andrew Wash AM
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conceived the idea of projecting larger-thanlife tattooed Melburnians – those who carry art with them everywhere they go – across the entire façade of the NGV International. The building’s clean, stark wall provided the ideal projection surface for 10 x Christie S+20k digital projectors from The Electric Canvas, the content transforming the usually-plain grey wall into a vibrant living-canvas. Outer Limits was the precinct designation for all the attractions taking place outside the main designated precincts, such as those by the Melbourne Museum in Carlton and Sofitel on Collins, who all got in on the White Night action. FOLDING THE TENTS
As is the way with all events, after the spectacle ends it’s time to clean up and leave the venues in the state in which they were found. White Night officially wrapped up at 6am on Sunday morning and this marked the beginning of a mammoth bump out. A number of the churches that had provided their beautiful façades for projection and hosted live performances had to be cleared in time for 9am services. The crew moved quickly and strategically – by Sunday afternoon
most of the CBD was restored to its pre-White Night state. It is easy in our game to get caught up in the individual elements that make up an event and forget why it is we do what we do. When I took off my lanyard and hi-vis to walk the streets with other punters on the hunt for art and innovation, it filled me with a profound sense of community, and made me proud of the city in which I choose to live. When I put the lanyard back on and crossed to the other side of the safety tape to talk to crew from all over town, I felt that same sense of community. And it made me even prouder to work in a city where the best AV professionals had combined forces to bring a bigger – and brighter – White Night festival to town in 2014. DRAMATIS PERSONAE Artistic Director: Andrew Walsh AM Operations Director: Bryn Skilbeck Technical Manager: Rohan Thornton
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Opposite & above right: The Finders Street precinct transformed into a projection-mapped Wonderland. Images courtesy The Electric Canvas. Top: The haunting projected faces of Monuments. Photographer: Simon Stephenson. Above left: The National Gallery wall becomes a rogues gallery of Melburnian tattoos. Image courtesy The Electric Canvas. The Southgate pedestrian bridge is transformed into a sci-fi time tunnel. Photographer: Eve Conroy.
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Mersive Solstice
Mersive’s take on collaboration technology Text:/ Ben Hatcher
Collaboration is a key element in both corporate and educational business. The ability to share content from a device, whether that be a laptop, tablet or even a phone, in a meeting room or tutorial space has become standard. The ways in which individuals accomplish this have evolved in the past few years with a movement towards wireless presentation systems. As part of the University of Adelaide’s 10-year plan entitled Beacon of Enlightenment, small group discovery experience plays a key role. This has had a direct impact on how we deliver technology into teaching spaces. The terms BYOD (Bring Your Own Device) and wireless interaction have been around for quite a while, particularly in the corporate sector. We needed to find a solution that would enable students to bring their own device and share content to a central point as part of their group work. After some months of intense research and testing we decided on Mersive’s Solstice solution. Solstice is an application that runs on a Windows 7/8 platform (referred to as the Server). Users download the free client software and use their device to share content over the existing wireless network. There are versions of the Solstice client app that run on most devices – Andoid, iOS, OSX and Windows – with the solitary exception currently being Windows phone. Solstice Directory Service manages the discovery elements so that anyone connected to the University wi-fi network can ‘see’ the available displays on their device once they start the application. The Solstice Dashboard is used to configure the Solstice servers and also monitor activity. We have set the Directory Service and Dashboard up on a central Windows server so that we can manage these services centrally. At the University of Adelaide we have three separate rooms with trolley systems (one room with six, one with four and another with two). Each
system consists of a 50-inch LCD panel and a Lenovo Tiny Desktop PC running the Solstice server software. As the Tiny PC connects via the wireless network, mains power is the only physical connection we have to the trolley system. THE GOOD
Because Solstice is a software solution it meant that we had the ability to run it on a PC instead of having a specialised piece of hardware for wireless collaboration. This was a big plus for us as it gave us the ability to have the PC as a fall back to use as a collaboration tool in case things went awry. It can also run off the wireless network, saving us the trouble of installing additional data outlets. As with most wireless presentation tools, when using a laptop the user has the ability to share their entire desktop or a specific application window. The big advantage with Solstice is its ability to share web content from mobiles or tablets. Where others will mostly allow you to share photos from your mobile device, having the ability to share content through Google search is a big advantage. Another bonus is being able to access and share documents through Dropbox or Google Drive, although this can be a little hit and miss as the cloud-based content needs to be able to be opened within its own ecosystem (ie. if a file doesn’t open within Dropbox it can’t be shared). This is more of a problem for Dropbox and less so for Google Drive. Another big plus: we could take the content being shared in the individual groups and bring it to the central teaching point for broader discussion. Currently we use ABTutor at the main teaching point to facilitate this, though we have had some early discussions with Mersive about incorporating this element into Solstice. Mersive has also enabled the sharing of high definition video (1080p @ 30fps). Users select the video content they wish to share and it is sent over
the network to the Solstice server. The server then buffers the video file locally and begins playback. The actual content is not permanently stored on the server, so there is no concern about leaving sensitive material to be accessed by others. Ease of use is always a key driver with any technology and Mersive is not far off the mark. Having had the systems up and running for around five months we have found the students pick it up quickly and easily, and just run with it. It does take a little bit of time to get accustomed to the GUI and Mersive is working hard to improve this in the forthcoming version 2.0 release. In my opinion, the biggest plus is the level of Mersive’s support and development. We are in regular contact with the engineers and even the CIO (who are all based in Denver) to give feedback and talk through any issues we’re having. They’re quick to address problems and also take on board the ways we feel that Solstice can be refined to suit our applications. THE NOT SO GOOD
I touched on the GUI previously and I think that it could definitely use some refinement to ensure that users of all types, whether tech-savvy or not, can jump in and immediatley start using the application. With regard to implementing the system to suit our needs; it did take some time to get where we wanted to with Solstice. As with most tech rollouts the complexity is on the back end and thankfully the folk at Mersive were very accommodating in giving us their time to work things through. Something not unique to Solstice is lag when connected to the server via the app and scrolling through content. I think there is an expectation that if you are providing a wireless solution to replace a cabled connection to a display, the response time shouldn’t suffer. Whether this
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NEWS
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DXW-2 Series
Solstice V2 Update Mersive recently released Solstice V2 at InfoComm14. We have started testing the new software and are generally impressed. V2 might as well be a totally new product: it’s not backwards compatible, and the layout and features have dramatically changed. The good news is that Mersive seem to have addressed the issue with lag. Mersive has also found a way to build in the ability to connect to the Solstice server software via Airplay for Apple devices (though we need to do some more rigorous testing around this with regard to the network configuration). The touch interactivity is also a big plus in certain scenarios. Although testing has only just begun, early signs suggest that V2 has made some marked improvements.
2-Gang HDBaseT Input Wall Plate Switcher
DXW-2EU DXW-2E DXW-2
is valid, given that we are using the wireless network infrastructure to pixel map from the client to the server, is inconsequential: the expectation is there. As we already have three rooms housing 14 Solstice servers, we really need to find a way to centrally manage all the displays. Ideally, we would like to deploy the software via an image and update the software as new releases roll out. Currently, we have to do an individual update at the server PC. Again, this is something we are working on with Mersive. Cost is a key concern for any business and Solstice isn’t cheap. The cost sits between Crestron’s Airmedia device (on the low end) and Barco’s Clickshare on the high end. Obviously there is also a requirement to buy a PC to run the server software; the higher the spec the better. Having said that, I would still consider Solstice to be good value for money, given what it is able to achieve.
VIDEO. AUDIO. NETWORK. CONTROL. POWER. EXTEND UP TO 600FT OVER ONE CAT-X CABLE*
* 600ft over one CAT 6a cable (1080p 60Hz 24bit)
SOLSTICE: HIGH TIME
Solstice’s release was timely, with the University undergoing some major changes in the way courses are delivered and the way students are expected to learn. We feel Solstice is the best fit for us as things stand and, with the way that Mersive is working to refine its product, are excited to continue to develop this solution at the University of Adelaide.
MORE INFO CONTACT Image Design Technology: 1300 666 099 or sales@idt.com.au PRICE: Solstice (unlimited client sessions): $4728 (inc GST) Solstice Small Group edition (4 client sessions): $2200 (inc GST) Solstice client licenses and Solstice Directory Services software are free downloads.
Features • • • • • • • • • •
1 HDMI input with audio for DVI 1 VGA input (can accept YPbPr, S-Video, & Video) All inputs converted to HDMI at the wallplate HDBaseT 600ft extension 1 IR receiver (40ft range) 1 LAN pass-through connector (2E and 2EU only) Auto-sense, buttons, RS-232 for source select Low depth for floor and table boxes Remotely or locally powered Connect direct to HDBaseT compliant displays
Made in the USA For all product enquiries, demos or quotes, please contact us: jands.com.au
info@jands.com.au
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TUTORIAL
EDID Unraveled Avoiding potholes on the road to EDID enlightenment Text:/ Derek Powell
Every display device such as a monitor or a projector, is built to a particular specification. At its most basic, every display has a native resolution (like 1024 x 768 for an XGA monitor) but many devices may be able to handle a range of signal types. Some may be able to correctly display inputs ranging from VGA to full HD, while others are built only to handle a limited range of signal frequencies and resolutions. It is that information about the capabilities of the display that is stored in its Extended Display Information Data (EDID) memory and shared with any video source, such as a computer, connected to the display. [See Hooking Up – the way it’s meant to be]. The concept of EDID is brilliantly simple, and in its originally intended role, it simply works brilliantly. However, once you have two or more display devices in a system with different capabilities (and hence different EDIDs), you can easily enter a world of hurt. HOW DID WE GET EDID?
To step back in time; important specifications about the very earliest displays were simply printed in the handbook and the user would need to manually configure the source machine’s output to suit the display’s capability. As the years passed, display manufacturers started to use a fixed voltage on spare pins on the VGA connector to signal basic features about the monitor (like whether it was capable of handling XGA or higher resolutions). That allowed a certain amount of automation so that when a monitor was connected, the PC would sense from the voltages present on these so-called ID pins whether the monitor was capable of, say, VGA or XGA and choose which format to send. This, my friends, was the dawn of plug and play but as more resolution choices evolved, along with colour space and so on, the plugs started to get smarter! Instead of simply using fixed signalling voltages, manufacturers agreed to convert Pins 4, 11 and 12 on the D15 (VGA) connector to a serial communication protocol called the Data Display Channel (DDC) so that a range of information could be sent through the monitor cable to the signal source. Later, DDC evolved into the set
of standards we know as EDID and this is now universally used with DVI, HDMI and Display Port connections. WHAT DOES EDID LOOK LIKE?
EDID parameters are stored as a standard 128byte data block on a chip embedded in the display. Once the cable is hooked up, information on native resolution, colour space, timing, and even the model number and date of manufacture of the display, is sent across a bi-directional bus to allow the source to send exactly right signals to match the display. EDID has since been extended for use with consumer electronics to include more information on everything from the kind of audio signals to the type of 3D processing that a display device supports. You can download a piece of software for most PCs that enables you to view the actual EDID information read out from the chip. The EDID is just a set of hexadecimal digits that look like 6F 68 20 73 68 74 21 and so on, so most viewers helpfully provide an explanation of what each part of the data actually means. YES, BUT WHY DO WE NEED IT?
Here’s the crucial part of the EDID story. Nearly every source device, from Blu-Ray players to PCs, can send video in literally dozens of formats – different resolutions, syncs, colour space – you name it. However, a particular monitor or projector can only reproduce a certain sub-set of the possible resolutions and will have very specific requirements for sync type, timing, colour space and much more. If presented with the wrong signal, the display may output pictures that are too large, too small, horizontally or vertically distorted, too fuzzy, or – very likely – no image at all. The source uses the EDID data provided by the display to decide what video to send. The exchange of data happens when the monitor is first connected in a process called handshaking, and source equipment can be very single minded about this. Not only could the picture be wrong if the EDID handshake is not successful, but the source may not output anything at all if it is not satisfied with the EDID it sees.
SO WHY DOESN’T IT ALWAYS WORK?
Even in a simple situation, a couple of things can go wrong. First, it may be that the source is only capable of outputting a limited range of standards and the monitor can’t display any of them. In this day and age, this is pretty unlikely, but if one or other component is truly out of the ark, you’ll simply have to change it to something more compatible. However if you find yourself with a mistimed, wrong size or missing image after the connection, then it is most likely the EDID information has not got through. A sensible check is to shut down the source and then re-start it to give the handshaking another chance and, of course, check the integrity of your cables. If things still aren’t right, then there are two possibilities. Firstly, the information may have been corrupted, which can happen if the connection cable is too long. Just as long cables can cause problems with video transmission, the DDC channel can also fail if the voltage drops too far across long DDC signalling lines. Try a shorter cable and see if the problem disappears. The other possibility is that there is simply no path for the EDID information. A classic case is connecting an analogue monitor via five (RGBH &V) coax cables rather than a D15-to-D15 cable. The necessary pins for the transmission of the EDID across DDC are simply not present in this connection so no handshaking can occur. The same situation can happen when using some types of signal extenders across such media as UTP (cat5/5e/6) cable or fibre. If the EDID is not transmitted correctly, or at all, then some sources will default to a very low resolution output like 640 x 480 VGA, while other sources may simply not output any video at all. Fortunately, there are devices that are designed to connect into the signal path close to the source that will perform an EDID handshake to replace the missing information from display device and force the correct video output. Using an EDID emulator you can either capture EDID information from the display itself or switch to one of a number of preset standard EDID sets stored within the device. The video signals from
TUTORIAL
043
Hooking Up – The Way It Was Meant To Be It is important to understand how and when the source goes about harvesting EDID from the monitor. Let’s start with the simplest set-up – using a standard cable to connect a PC/ video player to a monitor. This is the situation EDID was designed to address and almost always works.
Step 1. The cable is connected between the source and monitor and the source is powered up. The source supplies +5 Volts to the monitor through the cable which automatically starts up the EDID circuit in the monitor, whether or not the monitor is powered.
Step 3. The monitor’s EDID chip sends the stream of data back to the source across the DDC pins in the cable. The data includes not just the ideal configuration that matches the monitor’s native resolution, but also any other standards that the monitor can display.
Step 2. The monitor’s EDID circuits send back a signal to the source by driving the special Hot Plug Detect pin in the cable to +5 Volts. As soon as the source sees a voltage at the hot plug detect (HPD) pin, it sends a request across the I2C serial link requesting the monitor send the 128-byte data set.
Step 4. The source reads the data, configures its display settings to suit and outputs video with the correct resolution, timing, sync polarity and colour space to match the ideal configuration or, if the user has instructed otherwise, to match one of the other useable standards. Hallelujah! Everything works and the monitor is now displaying the output in the best form it can handle.
Image from Extron’s white paper, EDID: A Guide to Identifying and Resolving Common Issues
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TUTORIAL
Display 1 WXGA only Video
Input
Output
Source
EDID Handshake
EDID EDID
?
Input Video Source
EDID Handshake
RECOGNISING EDID ISSUES
In our single source/single monitor example, there is little to go wrong, apart from missing the EDID handshake. But there are many other situations in professional AV systems where problems will always arise and EDID will have to be managed before you can get a system to operate correctly. Stepping up in complexity, the next obvious example is where we have one source connected via a distribution amplifier to two monitors with different resolutions. Consider the situation in the diagram above. One monitor can display WUXGA and WXGA, while the other is limited to WXGA. If we wish to send the source to both monitors we can easily distribute video signals through a distribution amplifier but how do we arrange for an EDID handshake where we have one source and two different EDID information sets? A source can only output one resolution at a time and does not have the capacity to compare two choices and make a decision what kind of video to output.
Display 1 WXGA only
Output
EDID Manager set to WXGA
A source can only read one set of EDID information at a time. So if two different monitors are connected to a source through a distribution amplifier we need to carefully arrange which EDID is passed through to the source.
the source-pass through the emulator and can then be sent to the display.
Display 2 WUXGA (preferred) and WXGA
Video Video
Input
Output
Video + EDID Video + EDID
Intuitively, I’m sure you can tell the best way to proceed. The best result will be to arrange the source to output the highest resolution common to both displays. If the source is arranged to output WXGA then both monitors will be able to display it. However, if we simply connect everything up, the results can be unpredictable. With some brands of distribution amplifier, EDID might be passed through from monitor one; or EDID might be passed from monitor two; or there might be no EDID information passed at all! In two cases out of three the results will be unsatisfactory so it is clear we need to intervene and implement some kind of EDID management to make sure we get the best results. In this case, a simple EDID emulator programmed to force our source to WXGA will solve our problem. OVERCOMING COMPLEX EDID ISSUES
If we go just one step further in complexity, it quickly becomes clear that using a matrix switcher to connect a range of different sources to different monitors requires better management than a
Display 2 WUXGA (preferred) and WXGA
simple EDID emulator can provide. To allow switching in any combination, we need to find the highest common resolution amongst the display devices on the output side, then ensure that common resolution is communicated to all the input devices. Of course, as well as resolution, we need to consider the effect of different colour space capabilities amongst the displays – some may only be able to handle RGB, not component video – and we may also need to instruct sources to send audio across HDMI if some output devices have internal speakers. The best way to deal with switching issues is to ensure that the switcher has a system for EDID
TUTORIAL
The Atlona 4K HDBaseT switcher accepts your challenge
045
The perfect solution for boardroom or classroom - 4K, HDBaseT in and out, scaling, switching and audio.
The Atlona CLSO switcher & scaler features 2 HDMI, 2 HDBaseT and 2 multi-function analogue inputs allowing you to easily switch between various sources to create a captivating lesson or presentation. Multiple Inputs and Outputs - Display any source with 2 HDMI, 2 HDBaseT and 2 multi-function analogue inputs. Built in 4K scaler - With analogue sources, HDMI display compatibility can be an issue, but the built-in scaler of the CLSO-612 takes away the risk. Down-scaling allows 4K sources to be displayed at 1080p or less. Audio - The CLSO-612 integrates easily with commercial audio equipment with balanced, analog audio in/out at +4 dBu. Control - Auto-Switch option makes control simple. Control the UHD-CLSO-612 using the front panel or IR control using the multi-language On Screen Display or RS-232. HDCP Management - The HDVS intelligently protects HDCP encoded content.
Visit IDT at Integrate stand D46 to see Atlona in action or contact our telephone support team.
1300 666 099
Or visit www.idt.com.au to find out more.
Sydney Melbourne briSbane Perth
046
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management built-in. Many matrix switchers are now capable of analysing the capabilities of the output devices that are connected by reading and comparing their EDID tables. The switcher will then apply an algorithm to come up with a ‘best compromise’ EDID it then presents to the connected sources so that they configure themselves correctly for all possible outputs. For most situations this is a good start, but better EDID management systems allow the user to log-in to the switcher interface and manually set up each EDID parameter on every input. This permits the ideal results in a situation where one size does not fit all. For example, we may want some input sources to remain at the highest possible resolution if they are only ever switched to HD-capable monitors. A good management system will allow for exceptions to the general EDID rules for each input. WHAT SHOULD YOU NOW KNOW?
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• EDID is a block of hex data stored on a chip in all modern monitors and projectors. • The data describes all the kinds of signals the monitor can handle, and which signals are preferred for best display. • As soon as a display is plugged into a source (like a PC) the source reads the EDID data and sets itself up to provide the correct signals. • Many modern sources (not just PCs but also DVDs and more) need to see a correct EDID signal or they won’t produce their best output (or sometimes any output at all). • EDID works well when you plug a single display into a single source. • Once any system has multiple displays or multiple sources, and especially if a matrix switcher is involved, you need to consider how to ensure the right EDID gets to the right source every time a switch is made. There’s quite a bit more to EDID than we’ve had time for here, so I recommend you look up some of the web resources that are listed to learn more. Of course, once we iron out all the EDID issues between sources and displays, the next problem is dealing with HDCP – but that’s a horror story for another day.
MORE INFORMATION Extron has a pair of excellent tutorials that go into EDID problems in some depth and are recommended reading. ShortURL: alturl.com/ry79j. EDID Viewer. The simple EDID Manager Program from Extron lets you view the EDID information from connected equipment and is a good place to start to understand what EDID is about. You can download it (for PC only) from ShortURL: alturl.com/q4gxe. Note: You will have to provide your name and email address to Extron for the privilege of downloading these files.
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REVIEW
PRO AUDIO • AUDIO VISUAL • INTEGRATION • LIGHTING • STAGING
ENTECH CONNECT is the must attend event for audio visual, pro audio, staging, lighting, integration and broadcast professionals.
RE GI
ST E
NO W
23-24 JULY 2014 Royal Exhibition Building | Melbourne Find out more: entechshow.com.au/entechconnect Don’t miss the session with international lighting designer LeRoy Bennett, who has worked with the world’s leading performance artists including Beyoncé, Madonna, Paul McCartney, Lady Gaga, Bruno Mars, Nine Inch Nails and Rihanna.
Show highlights: • Masterclass: LED - Outdoor Display Systems Design • Integrated Touchscreen Technology • BOSE/SGM networking evening • Technicians lunch series • Exclusive onsite training by ULA, Jands, Yamaha, BOSE Sennheiser Australia & Show Technology • Live audio demo zone
Photo credit MJ Kim
Entertainment Rigging, Staging, Flying Effects, Automation, Technical & Uncommon Services
R
ALIA
048
NEWS
InfoComm News
News from the Region
AV INDUSTRY GROWING STUDY FINDS
A new study by Acclaro Growth Partners is projecting that audiovisual products and services will become a $116 billion global industry by 2016. The 2014 Global AV Market Definition and Strategy Study, conducted on behalf of InfoComm International, is the only worldwide study aimed at sizing the commercial audiovisual industry. The growth of conferencing, signal management, AV acquisition and delivery equipment and streaming media resulted in an 11 percent compound annual growth in demand for AV products and services between 2012 and 2016. The study finds that the audiovisual industry currently generates $92 billion a year. Further industry growth is anticipated. “The AV industry is strong, thanks to a rebounding economy and a growing need for collaboration,” said David Labuskes, CTS, RCDD, Executive Director and CEO, InfoComm International. “However, growth is not universal across the world, and the strength of the burgeoning Asian market will overtake the North American market in size for the first time in 2016.” AV applications such as displays, AV acquisition and delivery, projectors, signal management and processing, and sound reinforcement are expected to drive future growth. The fastest-growing product categories are control systems, software, AV acquisition and delivery, and displays. Over time AV systems have become complex and essential to the operation of government, institutions and corporations, resulting in a growing need for service contracts. The corporate, venues/events and government/ military markets are the three largest consumers of audiovisual products and services. However, hospitality is the fastest growing market for AV goods and services. The increased need for communication and collaboration in these environments is fuelling a reliance on AV.
The findings of The 2014 Global AV Market Definition and Strategy Study, which include a global overview and information by regions including North America, Latin America, Europe, Asia-Pacific and Africa-Middle East, as well as country-specific information from Brazil and China will be released in July. A sneak peak of the results was provided at InfoComm 2014. A total of 17 reports will be released at InfoComm shows and events around the world. The Australia study will be released at Integrate. The study can be purchased in its entirety or by regional or country report at www.infocomm.org/store GETTING TOGETHER AT INTEGRATE
InfoComm University is offering 10 classes at the Integrate Expo. Make the most of your time at the show by taking classes on everything from videoconferencing lighting, to HDBaseT for Education to managed services. Learn more at integrate-expo.com/seminars/infocomm-education. DO YOU NEED NAVS?
InfoComm has partnered with AMX to provide our popular Networked AV Systems in Australia and New Zealand. One of our upcoming sessions in Sydney is sold out, so register today. Register online at infocomm.org or contact us at oceania@infocomm.org. AV TECHNOLOGIST CERTIFICATE
InfoComm members have a great opportunity to prove their AV knowledge, without incurring added costs. After completing your free Quick Start and Essentials classes, take the free AV Technologist test online and gain recognition for your AV training. Although not a certification, the AV Technologist Certificate can act as a bridge to InfoComm’s ANSI-accredited certification program. It’s the perfect way “to show what you know” before you take the CTS exam. Employers can use the 100-question test to see how new hires are progressing in their knowledge. Contact
oceania@infocomm.org to learn how to make this program work for you or your company.
RECORD NUMBERS AT INFOCOMM14
InfoComm 2014, the annual conference and exhibition for professional audiovisual buyers and sellers worldwide, held June 14-20 in Las Vegas was visited by 37,048 professionals attending from more than 114 countries. This represents a 5.5 percent increase in attendance over InfoComm 2013. There were 947 exhibitors participating at InfoComm this year. Exhibitors occupied more than 49,000sqm of exhibit and special events space. “InfoComm is the ideal place to make AV purchasing decisions, connect with contacts and learn principles that will boost your effectiveness,” said David Labuskes, CTS, RCDD, Executive Director and CEO, InfoComm International. “The marketplace strongly supports the InfoComm show, and we are grateful for the attendee support and for the innovative exhibitors who are committed to making InfoComm a can’t-miss event on the industry calendar.” More than 5700 seats were filled at InfoComm University sessions, which provided practical training and attracted the industry’s best and brightest instructors and students. Attendees come to InfoComm for the diversity of courses on topics ranging from acoustics to videoconferencing. Popular courses included BYODs: The New Reality; The Future of Video Collaboration; CTS Prep; Designing Classrooms; and 4K is Here: Are You Ready For It?. With two-thirds of all of the education sessions being new, technology managers flocked to the inaugural InfoComm’s Solutions Summits on UCC and Digital Signage, attracting more than 500 participants.
INFOCOMM INDUSTRY AWARD WINNERS During InfoComm 2014, InfoComm International presented its annual industry award winners during the InfoComm 75th Anniversary Dinner. The Adele De Berri Pioneers of AV Award is issued annually by InfoComm International to current or former employees of InfoComm member companies who have made an important contribution to the science of audiovisual technology, whether as an inventor or thought leader who advanced the development of a new product, segment or service of the AV industry. The 2014 award was presented to John Meyer, CEO of Meyer Sound. The Educator of the Year Award is selected by the InfoComm International Awards Committee to honour an individual who works to develop the skills and knowledge of others in the AV industry. This year the award was presented to Joseph Cornwall, CTS-D, ISF-C, FOI, DSCE. InfoComm’s Distinguished Achievement Award is the highest honour bestowed on an industry member by the association. This year the award was presented to Jack Emerson, who founded CEAVCO in 1961 and led the company until his retirement in 2013.
The Harald Thiel Volunteer of the Year Award uncovers and celebrates the volunteer who has contributed greatly to the association and who is not recognised in other ways for that contribution. It is awarded annually for contributions made to the association within the last one to two years. The 2014 award recipient was Ratnesh Javeri, CTS-D, CQD, CQT, of Innovative Systems and Solutions Pvt. Ltd. The Women in AV Award was created by InfoComm to raise awareness of the growing role of female professionals in the male-dominated field of audiovisual technology. These award winners are in the upper echelon of AV professionals and symbolise the strength of entrepreneurship and excellence in developing tomorrow’s AV talent. Jan Sandri, a founding member of FSR, and Cory Schaeffer, co-founder of Listen Technologies were this years’ recipient. The Young AV Award was created by InfoComm to recognise up-and-coming professionals in the audiovisual industry. These award winners are held in the highest esteem by their AV industry colleagues of all ages. The 2014 recipients were Derrick Lund, CTS-D®, of the Seattle Children’s Hospital and Justin Kennington of Crestron.
049
TUTORIAL
Digital Signage – Content Planning The following is an excerpt from the management section of InfoComm University’s online course Digital Signage for Technology Managers. CONTENT WORKFLOW
A clearly defined content governance strategy is critical to your digital signage system’s success. If no one has an ongoing mandate to manage content, digital signage systems tend to become decentralised and neglected. Individual departments or stakeholders are left with the (often unwanted) responsibility of creating their own content. The result is a group of difficult to manage, infrequently updated signs with inconsistent messaging across the organisation. Content Guidelines
Content Creation
Approval No
Yes
Content Storage/ Scheduling
Yes
Content Templates
Approval No
You need to establish a workflow for creating, approving and publishing content. The process you define should also include procedures for updating content. This is to ensure your messaging remains timely and on-brand. The content stakeholders should create a content guidelines document outlining rules for digital signage content. Consider: • Technical requirements – file type, aspect ratio, resolution, etc • Types of messages • Acceptable colours, fonts, etc • Logo use rules Branding stakeholders (marketing, communications, public relations, etc) will probably take the lead on creating these guidelines. You will probably need to supply technical requirements. Who will be creating content for the system? Will each contributor’s content go to all signs, or will certain contributors’ messages appear only on certain signs? For instance, messages from the CEO may need to appear on every sign in the network, but HR messages might appear only in break areas. Consider also policies for updating content. How often should updates occur? How will you ensure they’re taking place? Will some content be automatically generated? Establish a policy for who will approve content. Will all content pass through one central clearing house, such as the marketing and communications department, or will each department approve its own content? Is there any content which doesn’t need approval? Once content is approved, who is responsible for storing that content and scheduling it for
display? What are your scheduling policies? Who, in the end, is responsible for making sure content appears on screen? Even if you don’t have primary responsibility for any other part of this workflow, you have to understand it in its entirety. Then, if a screen goes dark, you can troubleshoot both technical and workflow problems to find the cause. Your organisation may wish to develop or buy content templates, which can help ensure that content adheres to guidelines. They also make it easier for people without a design background to create professional-looking content. The stakeholders responsible for setting the content guidelines should approve the templates. Your own organisational culture will determine how strict Content Display creative guidelines and workflow procedures need to be. Having at least some guidelines in place will make it easier to expand the system and train future users. As you create your content governance workflow, consider: • Who writes the content guidelines? • Who is in charge of content creation and/or design? • How is content submitted? • Who approves content? Does all content require approval before display? • Where is content stored? • How often should content change? • Will content be managed internally or externally? CONTENT ELEMENTS
People often make the mistake of thinking of digital signage content as one big thing, for which one group or person should have sole responsibility. Really, there are multiple elements to digital signage content. Consider dividing your content guidelines into three elements: Brand Standard Theme
Content
• Brand standards • Themes • Specific content Brand standard guidelines include a style guide and general standards for content. They allow aesthetic continuity to be maintained across all your signs. Your organisation may already have brand standards which should be adopted for use with digital signage content. Brand standards
inform the design of templates created for your digital signage system. Theme guidelines define the type of content to be displayed. A sign’s themes might include: • News ticker • Corporate announcements • Social media • Weather Many signs are divided into zones, each with its own theme. Specific content guidelines set rules for the continually updated content which appears within each theme. This content could be: • Live information pulled from a database or RSS feed • Contributed by general users via email, a web interface, etc • Designed by marketing professionals for a specific campaign Different stakeholders may be responsible for each element. Maybe your communications department is responsible for brand standards and themes, while individual people or departments submit specific content. You need to define each content element before you start discussing hardware and software. Outlining where your content will come from and how it will be submitted will help you choose digital signage components with the right capabilities. As you develop your content guidelines, consider: • Types of information displayed • Acceptable file types (RSS feeds, Flash, etc) • Language and regionalisation requirements • Mass notification laws • Branding policies • Interactivity and social media • For social media feeds, could someone post inappropriate comments which breach company policies? The approval process can be as centralised or dispersed as required. Stakeholders may be allowed to independently approve content relating to their own departments, or all content may need to be submitted to a central approver. Many organisations develop and publish approval procedures for stakeholders who want to display content. Above all, the approval process should be easy to find and easy to use. Publish approval policies with content guidelines. These guidelines should make content easier to create and be approved, rather than being a major barrier to updating signs. Their purpose should be to help content creators become self-sufficient as much as to control messaging.
050
HUMOUR?
Termination Out of Whack: The decline of percussive maintenance. Text:/ Graeme Hague
With the ascendency of the digital age and disposable technology we’ve lost one of the most effective tools for repairing faulty equipment – percussive maintenance: a firm whack on the side of the device in question. This has fixed many, many things over the years such as television and radio reception, unwanted hums and buzzes in amplifiers, and it’s even prompted the occasional toaster to eject breakfast on time. The smack on the side of the screen has become a thing of folklore – and is still a potent, standard gag for screen writers. Like when the latest, high-tech surveillance van is abruptly rendered useless at a critical moment thanks to an unidentified electronics glitch, however our heroes save the day in the nick of time with a timely calibrated-thump on the computer monitor and everything comes back to life. In fact, Han Solo forces the Millennium Falcon into warp speed by thumping the console – although to be fair that was a long time ago, in a galaxy far, far away and instant, interstellar travel must have been analogue. Still, you have to wonder just when future scriptwriters will draw a line in the sand of Tatooine and say, ‘Hang on, that can’t possibly work. It’s solid state electronics.’ SOLID STATE OF AFFAIRS
All this thinking comes about from spending several hours with a confirmed Marxist and old-school electronics technician. Henry is a tall, snowy-haired retiree who manages to sneak a few dollars past the tax man by fixing the unfixable. When it comes to repairing electronics, legend has it that if it can be repaired, Henry can repair it. He’s also an old-school guitar player who believes the only way to get the right tone out of a Marshall amplifier is to turn it up – a lot.
Effects pedals and processors are for girly-men guitar players and lamington chefs. After a string of complaints from his band members saying their hearing aids were square-waving, Henry made a smaller amplifier from parts scrounged from defunct Marshall amps (something you’d never throw away) which he calls his ‘Partshall’. Sounds great, actually.
“you have to wonder just when future scriptwriters will draw a line in the sand of Tatooine and say, ‘Hang on, that can’t possibly work. It’s solid state electronics” I had to bite the bullet and ask Henry if he would look at a guitar processor for me. The nearest genuine service centre is on the other side of the planet. The designers of this device in their wisdom had mounted a lithium battery directly to the circuit board – I might add it’s also the most obscure battery ever manufactured and took me hours of interweb searching to buy – and while I’ve knocked up the odd microphone cable in my time, soldering to and from a circuit board is beyond my skill-set. Plus, since I was
going to take this gear deep into the lion’s den, I might as well ask Henry why the wah pedal wasn’t... well, wahing. Here’s where weird, unbelievable stuff starts to happen. Modern technology gets a nod, because first Henry used the internet to find and print out a circuit diagram. But then he looked at this maze of squiggles and line – and understood it. Even more amazing, shortly afterwards he’s examining the circuit board itself and reading it like a mud-map to the nearest pub. It is a requirement, apparently, while electronics problems are identified, to mutter dark things about the political state of the country, complain about the sound engineer who deigned to put a microphone in front of Henry’s Marshall the week before rather than ask him to crank it up (it wasn’t me – I’ve known Henry long enough to know better) and also tell me the correct names of the band members from every rock group circa 1960 through to the mid-1970s... beyond that rock and roll has been largely disappointing. ASSAULT ON BATTERY
The lithium battery didn’t put up much of a fight as we discussed the gravity coal mine Henry grew up in and current pathetic, overly-administered OHS standards (all the coal processing was done downhill from the mine head, thus the rail trucks needed no train, just good brakes) and we had an ‘ah-ha!’ moment when Henry found a pesky transistor in the wah pedal circuitry, which he replaced from an ice cream box of scavenged bits. During this bit of surgery Henry explained that he was again fixing the unfixable and that printed circuit boards were originally never meant to be repaired, but completely replaced. The first PCB was commercial used in the 1960s. Nobody was supposed to care about individual components anymore. No one would ever again have to whack the side of any electronic equipment to make it work. It was all a very sad (solid) state of affairs. Fortunately, people like Henry have been ignoring that concept for 50 years and fixing stuff, rather than throwing it away. So as a salute to old-school, Marxist, too-loud electronics technicians, the next time your digital console has a glitch, try giving it a solid smack on the side, just for old time’s sake. It won’t achieve anything except maybe make you feel better. Henry would approve, too.
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