AV Issue 14

HAIRSPRAY’S LED STAGE BLOW AUDIENCES AWAY THE X FACTOR VIDEO & LIGHTING STEALS SHOW $6b CASINO’S LASER & LIGHT EXTRAVAGANZA OLYMPIC PARK WINNER: WORLD-FIRST BIAMP VOCIA INSTALL FIRST EVER SPINETIX FUSION REVIEW ALSO REVIEWED: MITSUBISHI XB6100 & TASCAM DR680 LOCATION RECORDER

issue #14 2010

$6.95 inc gst

CommeRCial lCD

DVR seCuRity

Display Wall Cubes

pRojeCtoRs

Resolia™ leD

Bring your vision to life with the superior quality of Japanese design and engineering.

Mitsubishi Electric has the visual solution to meet your needs, no matter how small or large the task. With the freedom to choose from a large range of commercial LCD displays, Digital Video Recording and security control systems, large format Resolia™ LED billboards, home or business projectors and Display Wall Cube systems, the possibilities are only limited by your vision.

Mitsubishi Electric Australia Pty Ltd, 348 Victoria Rd Rydalmere NSW 2116 www.MitsubishiElectric.com.au ph: (02) 9684 7777 fax (02) 9684 7208

Proud partner of the Australian Centre for the Moving Image

04

Editorial News that’s fit to print & news that isn’t Long before we started to put the first issue of AV together, I was pretty adamant that both printed magazines and industry tradeshows had been rendered obsolete by the unexpected popular uptake of the World Wide Web. My reasoning was that if you can read about interesting projects, new gear and new technologies on the Web pretty much as soon as it happens, what value would there be in reading it again in a magazine three months later?

Similarly, I couldn’t see why you would bother to go to a tradeshow, particularly one in another state or country, just to see the new products that you’ve been reading about on the Web for the last year. Time has proved me to be right about this, but certainly not in the way I had expected.

With very few exceptions, the printed magazines that we read today no longer even pretend to give us the up-to-the-minute news about the latest products or the most recently completed projects or the things that impact upon us daily from governments and in the community. Instead, magazines like this one work to bring you the things that you can’t easily find on a blog, on a Facebook page or in a tweet: detailed articles, longer than a single iPhone page and images with details that aren’t visible on your laptop.

Just as an example, this half-page editorial would completely fill the screen on an iPad and Jeff Bushby’s eye-catching opening photograph for our Hairspray feature would fill an HD monitor screen 10 times, an iPhone4 screen 34 times, and an iPad 25 times.

Some of you may have already had a look at the quad HD monitors available for $20k – $30k and beyond, but that image on page 30 is deca HD, and it came to you at no cost, courtesy of our advertisers.

A printed page may take a long time to prepare, print and post out, but if it gives the reader something that still isn’t available on a screen, then it still has a valid role.

Of course, this begs the question of what to do with all that other news that relentlessly flows past our screens every day. We’re all trying to keep up with the flow of events, products, technologies,

personnel changes, industry briefings, corporate mergers and acquisitions, distribution changes, regulatory changes, and salacious gossip, in the industries and technologies that intersect in our world.

I visit at least a dozen industry websites, and read a similar number of email bulletins every day, just to keep up with a small core of the technologies we use and the regulatory and economic environment in which we operate. In amongst the offers to become an LED reseller for most of the factories in southern China, I also get dozens of product announcements, media releases about projects, and announcements about product training opportunities in Delaware, Birmingham and Trondheim. What I don’t get is a good idea of what’s happening right here in our industry.

What we’re about to do here at AV is launch AV Newswire, a joint venture partnership between us (the information researchers, writers and editors) and you, the participants in the AV industry.

We’re setting out to cooperatively produce a useful, interesting and relevant email news bulletin that brings you all the news about our industry that has previously been either lost in the noise coming from the rest of the world, or known only to the few people who are directly involved in the events.

By now you will have seen our first bulletin, and hopefully you’ve already decided that it’s both worthwhile and quite simple to share what’s happening in the AV world through Newswire. While we won’t be publishing too much about baby showers, soccer club sausage sizzles or Tupperware parties in Newswire, we want to share your news about pretty much everything else. Andy Ciddor, Editor If you can suggest a topic that we haven’t covered yet, or better still a loopy way of linking our randomness into themes, please contact me: andy@av.net.au

the AV Industry’s Lunchroom Noticeboard • Who’s doing what work where • What’s happening on the technology front • What training is available • Who’s hiring

HDMI & DVI Boards Now Shipping!

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Extron SMX Digital Matrix Switcher Boards

Intelligent Technologies for Digital System Integration Digital signal technologies are now very much a part of commercial A/V system designs. Integrators working with digital signals face three primary challenges – maintaining signal integrity throughout the system, ensuring compatibility between devices, and working with content protection schemes such as HDCP. The new HDMI and DVI Pro matrix boards for the Extron SMX System MultiMatrix are engineered with the intelligent technologies you need to succeed and thrive in the digital era.

HDCP Status Reporting and Compliance Checking actively reads and reports HDCP status for all connected sources. Non-compliant displays are sent a green signal, providing visual indication that the signal path is intact and protected content cannot be displayed.

Key Features:

EDID Minder® automatically manages EDID communication between the display and input source, ensuring that digital sources power up properly and maintain their video output.

• Provides +5 VDC, 250 mA power on each output for external peripheral devices

Input equalization compensates for weak source signals or signal loss due to long or poor quality cables. SMX DVI Pro and HDMI matrix boards can equalize cables up to 50 feet at 1920x1200 and 1080p @ 60 Hz.

• Single point of control for up to 10 separate switchers in a single SMX enclosure

Output reclocking restores signal amplitude, timing, and clock rate, resulting in a signal that’s equal to or better than the original.

Australian Distributor of Extron Products

Free Call 1800.EXTRON

• HDCP compliant and HDMI 1.3 compatible • Supports computer-video to 1920x1200, HDTV to 1080p/60 • Audio breakaway

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Bose® FreeSpace® systems are designed specifically for business and retail environments and have been used in a variety of retail, restaurant and service operations–from single storefronts to national chains. Bose FreeSpace systems include speakers and electronics built for the demands of business environments–like 24/7 operation–and have been engineered with patented and proprietary technologies developed specifically for business applications. As a result, they deliver outstanding performance, greater reliability, smoother installation and reduced downtime.

A quality sound solution from Bose can enhance the experience you create and significantly impact your success. Discover the difference Bose sound can make for your business.

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Elegance for just about any environment.

Crew Starting out in life training as a dentist, Stuart soon saw the error of his ways. Instead he started up an AV company in London in 1984, and has been in AV ever since. His expertise is in vision for live events, from 35mm slide to videowalls, projection, and more recently, blending and multi-projector systems. He has worked as technical director for touring television shows and corporate events of all sizes, and has spent the past 10 years as General Manager at Haycom.

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.net.au)

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.

Publication Manager: Stewart Woodhill (stewart@av.net.au) Editorial Director: Christopher Holder (chris@av.net.au) Publisher: Philip Spencer (philip@av.net.au) Art Direction & Design: Dominic Carey (dominic@alchemedia.com.au) Additional Design: Leigh Ericksen (leigh@alchemedia.com.au) News Editor: Graeme Hague (news@av.net.au) Accounts: Jen Temm (jen@alchemedia.com.au) Circulation Manager: Mim Mulcahy (subscriptions@av.net.au)

Graeme Hague worked for the last 20 years in regional theatre venues as an audio, lighting and AV technician. Graeme is a regular contributor to AudioTechnology magazine and was the principal writer for the new Guerrilla Guide to Recording and Production (www.guerrillaguide.com. au). He owns a Maglite, a Leatherman and a wardrobe of only black clothing which proves he is overwhelmingly qualified to write on any technical subject.

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 Š 2010 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. 7/12/10

For the past five years Matt has been the Marketing Coordinator for Lightmoves, which has exposed him to some of the most high-profile technology projects in Victoria. He is also a strong contributor to Melbourne’s independent theatre scene, having worked as a producer, director, actor, stage manager and more recently as a lighting designer. He is a produced playwright and budding screenwriter (although Hollywood doesn't think so... yet) and also freelances his reviewing skills to a number of online and print organisations.

HDMI: You’ll Go Far

AAVARA PCE 122

The Aavara PCE122 HDMI over Single Coaxial Extender will transmit your HDMI 1080p video and 7.1 channel audio signal.

Coaxial cable is suitable for both indoor and outdoor deployment, and is ideal for signage and residential AV applications.

• Broadcast-grade coax transmission, designed for Ultra High Quality Video with 7.1 channel Audio • 1080p 120m long distance by single RG6U coax cable for indoor and outdoor deployment • Sender features a built-in 1-to-2 coax splitter, optimised for connecting two receivers • Receiver features a built-in one coax out for multi-layers cascade, ultra-long distance 1080 video transmission and multiple TVs/displays/projectors connections • Built-in 1-to-2 coaxial splitter in Sender and one coaxial cascade output in Receiver for great extension flexibility.

1080p

Surround

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Cable

Splitter

Casacade

Connector

Adaptors Included

AAVARA PB5000: MAKES MULTI-CASTING SIGNAGE/DOOH EASY The PB5000 HDMI-over-IP device is the ideal HD video distribution solution for DOOH and signage deployment. It delivers stunning ultra high quality 1080p HDMI video broadcast over an IP network. Not only does it offer smooth vivid 1080p full motion video with CD quality level audio, but it also ensures that crystal crisp images and sharp small text clarity will give the viewer the maximum visual presenting impact and easy clear reading.

PROFESSIONAL BROADCAST & AUDIOVISUAL SOLUTIONS

madis n a u d i o v i s u a l 1800 00 77 80 av@madisontech.com.au

P P P P

P P P P

Issue 14 REGULARS NEWS News and the latest new product information.

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INFOCOMM NEWS Regional news from InfoComm.

48

TERMINATION The business of bribery and corruption.

50

FEATURES

24

LIGHT WORK Singapore’s Marina Bay Sands’ opening laser and light show to remember.

18

LX FACTOR Video and lighting strut their stuff on TV talent show.

24

THE BRIGHTEST KIDS IN TOWN Hairspray: big bright hair; big bright LED screens.

30

WALK IN THE PARK Biamp’s new Vocia makes light work of Sydney Olympic Park’s distributed PA and paging

34

REVIEWS

18

34

TASCAM DR680 Location Recorder.

38

MITSUBISHI XD8100 XGA DLP Projector.

40

SPINETIX FUSION Digital Signage Creation Software.

42

TUTORIALS TO SERVE & PROTECT Digital video servers explained.

44

NETWORKING STANDARDS The role of standards in a communication environment.

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30

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40

44

012

NEWS

3D MIRAGES

MITSUBISHI GOES TO A WALL

PANASONIC: FOUR THIRDS FULL

Christie has expanded its Mirage Series 3D DLP projector line with the addition of six models to provide high-performance 3D solutions. The new Christie Mirage M Series three-chip DLP projectors offer complete compatibility with today’s 3D standards to support growing demands for 3D displays from home entertainment and video gaming, to museums, education and production companies. All six models feature a new dual-input image processor and a wide range of input options to integrate with any 3D signal and format. For 3D entertainment requirements, the Christie Mirage M Series is ready for Blu-ray 3D video, PS3 and other gaming consoles and meets the mandatory 3D spec for HDMI v1.4a.

Combined with embedded Christie Twist for advanced image warping and edge-blending and a full suite of specifically designed lenses, the projectors are easy to use and configure for any 3D applications. If you’ve recently bought a Christie three-chip DLP projector that’s stuck in boring ol’ 2D, upgrade paths to 3D capability are available.

VR Solutions: (07) 3844 9514 or www.vrs.com.au

The VS-L46XM70U 46-inch LCD from Mitsubishi Electric is a commercial panel designed specifically for us in multi-screen display wall installations. It features a 46-inch diagonal WXGA (1366 x 768 pixel) screen size with a viewing angle of 178º horizontal and vertical. The VS-L46XM70U has a total mullion width of 7.3mm, and Colour Space Control that can tweak the colour and brightness of each display automatically so that they are identical. Proprietary Digital Gradation Circuits adjusts the brightness level at the edges of each display in incremental steps so it appears uniform, while each unit shares data from a built-in brightness sensor. More internal image processing allows multi-input display walls to be built without an external controller. A range of optional input boards can be installed to provide DVI, VGA, composite, component and SDI inputs. All video cards offer two inputs per card and can generate two windows, while the SDI card, which covers SD/HD/3GSDI, can be used to make a single input daisy-chain.

A total of six source windows can be shown on each display.

Mitsubishi Electric Australia: (02) 9684 7777 or www.mitsubishielectric.com.au

Panasonic Australia has revealed that it will release a Four Thirds Camcorder for the pro video and digital cinematography industries. The AG-AF102EN inherits a Four Thirds format 16:9 MOS image sensor from the stills market, along with a Micro Four Thirds lens mount which provides access to a line of lenses and filters, that includes Mini Cine Primes. The camcorder records 1080 at 60i, 50i, 30P, 25P (Native) and 24P (Native), and 720 at 60p, 50p, 30p, 25p and 24p native, in AVCHD’s highest-quality PH mode. Variable frame rates are available in 1080p from 12p to 60p at 60Hz 12p to 50p at 50Hz. It records SMPTE timecode and is able to perform timecode synchronising.

Interfaces include HD-SDI out; HDMI out; and USB 2.0. The AG-AF102EN has a built-in stereo microphone and features two mic/line, switchable XLR inputs with +48V Phantom Power capability. It can record 48kHz/16-bit two-channel digital audio recording (in PH mode only) and supports LPCM/Dolby-AC3 in any of the modes. Its two SD slots allow continuous recording for up to 12 hours with 64GB SDXC cards.

Other features include Dynamic Range Stretch in all modes and frame rates; six built-in, customisable scene files that are exchangeable for matching between multiple cameras; and a high-resolution LCD viewfinder. Price: $7219.

Panasonic Australia: 132 600 or www.panasonic.com.au

NEWS IN BRIEF:

The Neutrik USB 2.0 (A-B reversible) and Firewire feedthrough chassis connectors use the same universally accepted D-size housing as Neutrik’s XLR receptacles. The combination of USB cable and chassis connectors means the connection locks and is water resistant. In addition the design offers a shielded connection with high noise immunity and EMI protection.

Amber Technology: 1800 251367 or www.ambertech.com.au

Yamaha has been busy in the software department. First there is an iPad application called StageMix for use with its M7CL consoles, plus the Yamaha Console File Converter which now allows data to be shared between its LS9, M7CL and PM5D desks, and finally the free M7CL v3.5 firmware upgrade will provide users with the ability to record up to 64 channels via a single Cat5e cable.

Yamaha Music Australia: (03) 9693 5272 or www.yamahamusic.com.au

Vision has rolled out a comprehensive new video training course for its distributors and resellers. Found at visionaudiovisual.com/training the course is designed to augment and offer refreshers of InfoComm training. Each of the 15 video lessons is 4-5 minutes long and is based around a Vision product, giving relevant technical training for sales people.

Integration Supplies: 0408 570 950 or ian@isupplies.com.au

Risking outright chaos and confusion, Haycom Staging is now known as Haycom AV Pty Ltd. Actually, it looks like only the stationery is going to take a hit.

All other company details remain unchanged.

Haycom AV: (03) 96451612 or www.haycomav.com.au

NEC Australia has announced three new models in its ultra short throw series with the 3100 lumen U310WG, 2600 lumen U260WG and the 2500 lumen U250XG. Eco Mode technology extends lamp life up to 3000 hours and power management controls automatically turn the projectors off when an incoming signal is not detected. Quick start and shutdown procedures take 20 seconds without the need for a cooling period.

NEC: 131632 or www.nec.com.au

SPINETIX: BELIEVE THE HYPER Spinetix’s much-lauded HMP-100 has been superseded by the HMP-200 Hyper Media Player – a full HD, high-end digital signage device. ‘Zero config’ technology and compact size allow for quick installation and like the 100 the HMP-200 isn’t PCbased, with no moving parts and no maintenance. It’s exceptionally compact, so you can easily put it behind a screen. The power consumption of a HMP-200 in full action is a paltry 7W – resulting in some obvious energy savings, compared to PCs. And it ships with a lifetime warranty. With the HMP-200, Spinetix offers a simplified way to publish information, audio and dynamic content (RSS, widgets) to your screen. This is done through the Spinetix Fusion Software which runs inside the HMP200 [see our full review later this issue]. Spinetix HMP devices can be used to make video walls, of any size or shape as well as interactive kiosks and touchscreens – everything is included.

Spinetix digital signage solutions are based on open formats and protocols. Integration is straightforward and powerful – with no recurring license fees for the software.

Madison Technologies: 1800 669 999 or www.madisontech.com.au

Spinetix has signed Madison Technologies to be a certified distribution partner for Australia. Madison will “implement and increase the presence and use of the Spinetix hardware and software products in the region”.

Madison Technologies: 1800 669 999 or www.madisontech.com.au

Hitachi has released the first model in a series of ‘Ultimate Short Throw’ projectors, the CP-AW250N. The CP-AW250N can project a sharp 80-inch WXGA (1280 x 800) resolution image from as little as 56cm from the screen, is smaller and 2kg lighter than its predecessor and has a new six-axis wall mount to ensure that the projector can be installed in the correct position with fine adjustments possible.

Hitachi Australia: (02) 9888 4100 or www.hitachi.com.au

014

NEWS

EPSON’S G-SPOT

iLED TAPS INTO FLOODLIGHTS

VISION THINKS OUTSIDE THE SQUARE

Epson has expanded its G Series of large venue multimedia projectors with output now up to 5200 lumens and resolutions ranging from XGA through to full high-definition WUXGA. A new DICOM Simulation Mode uses standardised greyscale to reproduce medical and scientific images such as x-rays for medical training. Multi-PC projection allows up to four computers to simultaneously project via a network with a four-way split screen and an additional 12 PCs connected in standby. In line with Epson’s long-term policy of reducing the environmental impact of its products, the G Series projectors have a higher light efficiency and lower power consumption using Epson’s patented E-TORL lamps and lead-free projection lenses. Units are packaged in recycled paper without using styrofoam and the projector case is paint-free for easy recycling. Connections include HDMI, VGA x2, Audio in x2, hardwire remote, 5x BNC, monitor out, RS232 and optional wireless (model dependent). There is one-touch filter removal and side lamp access. Pricing starts from $2299.

Epson Australia (02) 88993666 or www.epson.com.au

iLED Commercial has released two new LEDbased floodlights. The MM-Sdd600 and the MMFL70WB-360 are rated at 150 Watts and 70 Watts respectively. Both offer 50,000 hours of lamp life and an instant start – no warm-up required – which makes them attractive for security applications in hard-tomaintain installations where motion detectors are being used. The front cover is tough 5mm tempered glass and the casing suitable for high-humidity environments. The air convection cooled IP65 rated casing has an aluminium alloy die-cast anodized and painted shell. The optics feature a high-purity aluminium reflector. The lightsources are a multichip, integrated, single-group design, using quality semiconductor chips with high thermal conductivity, small optical decline, pure light colour and no ghosting.

The iLed is available in Warm White (nominal 3200K), Pure White (nominal 5500K), and Cool White (nominal 6500K), while the CRI is just 75.

ULA Group: 1300 852476 or www.ula.com.au

Earlier this year Vision launched a fully revamped version of the Techconnect2 Control2. It simplifies and standardises the way AV equipment is controlled in a modular control panel and eliminates the hassle caused by lost or stolen projector remote controls.

The Techconnect2 Control2 (which cleverly defies abbreviation into an acronym) can learn from original IR remotes for programming, can control up to three items at once, and each button can learn multiple codes and output them in context-specific ways.

Codes can be duplicated to make multi-room roll-outs easier. Powered by a lithium battery (optional mains power adapter is available) and three IR blasters are included.

Integration Supplies: 0408 570 950 or ian@isupplies.com.au

NEWS IN BRIEF:

BrightSign has released two new solid-state media controllers with built-in Wi-Fi (802.11a/b/g/n) capabilities. The HD210w and the HD1010w are designed to speed and simplify signage deployment.

BrightSign’s HD210w looping sign controller and HD1010w interactive sign controller can be connected to a wireless network without having to install cabling or an adaptor.

IDT: 1300 666 099 or mailto:sales@idt.com.au

Coolux’s Pandoras Box v4.7 software features some major enhancements such as FluidFrame Technology, the new Box Warper and Windows 7 Pro 64 Bit compatibility. FluidFrame Technology addresses a common topic in live video processing as well as signal processing in general.The new Warper allows the user to create cut outs and mask while painting onto the projected surface from within PB Warp.

Show Technology (02) 9748 1122 or www.showtech.com.au

InFocus Corporation has released its InFocus LiteShow III wireless adapter. LiteShow III works seamlessly with any brand of projector, flat panel or other display with a VGA input, to easily share data, audio and video over a secure wireless connection at speeds up to 150 Mbps and with a range of 91 metres.

Revolution Technologies: (07) 39028051 or sales@ revolutiontechnologies.com.au

Staging Connections announced that it has signed new long-term service agreements with Hilton Brisbane, Hilton Adelaide, Parmelia Hilton Perth, Hilton on The Park Melbourne and Hilton Auckland. These agreements are in addition to the recent signing of Hilton Sydney, the Hotel group’s flagship property.

Staging Connections: (02) 95568880 or scgl@scgl.com.au

DIS, Danish Interpretation Systems, has introduced a new boundary microphone to its range of digital conference system microphones and as part of the DIS DCS6000 system. The BM 6620 boundary microphone comes with a lowprofile omni-directional condenser and is designed for clear, highly intelligible sound reinforcement, teleconferencing and professional recording.

Professional Audio Technology (02) 99403053 or sales@proaudiotechnology. com.au

NEWS

015

TINSELTOWN TWEAKING ON TAP

DAS FIXES CHURCH

ROLAND SIMPLIFY LIVE EVENTS

BenQ’s new SP890 Cinema Class projector offers a bunch of features and functions to suit a wide range of applications, but before everything else its Hollywood Quality Video (HQV) processor feature will catch your eye. HQV – you have to agree it’s hard to take seriously with ‘Hollywood’ in the name – automatically converts low-resolution sources such as 480i to produce ‘flawless’ rendered, full HD-like image quality from both analogue or digital-based files. The main concept here is that HQV allows users like teachers and conference presenters to prepare lectures using their existing IT resources without worrying about the quality of the source material. The BenQ SP890 provides 4000 ANSI lumen high brightness and 50000:1 high contrast ratio, and supports multiple video formats. BenQ is quickly introducing Crestron– supported RoomView network services to its range as new products are released and the SP890 is one of the new models supported.

BenQ Australia: (02) 8988 6500 or www.benq.com.au

St Mary’s Catholic church in Echuca on the Murray River recently installed a quantity of DAS Audio Artec-28 loudspeakers, as part of a major refurbishments of this beautiful old Victorian church. Taking care of the install was Ultimate Sound & Vision. Shane Doyle from Ultimate Sound & Vision picks up the story: “The St Mary’s Parish Church in Echuca has become a fantastic result for the parish. After much consultation with parish members to determine their specific needs and requirements for the system we used the knowledge and support from our suppliers to come up with the best result. The initial faults with the pre-existing system was lack of even coverage and volume, and large amounts of feedback. In the new system, increasing the power and taking the load off the system worked extremely well, along with the correct number and location of the speakers has now given the parish great even coverage throughout the whole church, regardless of your seating location. The speakers give a clean crisp sound, from low level microphone through to high-end music. The feedback from parish members and Father Des has been nothing but pure satisfaction.”

Ultimate Sound & Vision: www.ultimatesoundvision.com.au Magna Systems (DAS Audio): (02) 9417 111 or www.magnasys.tv

Roland’s VR-5 is an ‘all-in-one’ solution that’s designed to greatly simplify production, recording and streaming of any live event. The VR-5 incorporates a video switcher, audio mixer, video playback, recorder, preview monitors and output for web streaming all in a single unit. As a USB video/audio class device, web streaming is made easy by simply connecting to a computer running a live streaming service such as UStream and Stickam, as well as any video call service such as Skype and iChat. The reduction in hardware equipment, setup time and connection complexity helps to ensure a worry-free, easy-to-use solution for any event. Product highlights include: five-channel video switcher (three video sources, PC input, video playback); two mono and five stereo mixable audio channels; built-in scan converter for PC input; built-in dual LCD monitors with touch control for easy video source selection; three video layers for two video sources plus DSK (downstream keyer); MPEG-4 player/recorder; and USB video/audio class device for web streaming. Price: $6495.

Roland Corporation: (02) 9982 8266 or info@rolandcorp.com.au

LG has released two stretchedformat LCD monitors – the M3800S-BN 38-inch screen and the M2900S-BN 29-inch version. The screens are designed for information, advertisements and 17:5 re-invented broadcast content. The versatile Stretch Screen LCDs are “approximately half the height of a traditional LCD” allowing for a variety of installation options from stadiums to airport terminals to retail environments.

LG: www.lg.com.au

Matrox Graphics’ new Matrox Mura controller board is a video wall controller capable of capturing four full 1080p HD inputs and simultaneously driving four monitors at up to 2048 x 1080 while maintaining full RGB 888 image quality. Based on second generation PCI Express technology, the controller board has a x16 bus interface providing 64Gbs of bandwidth for cuttingedge performance.

Matrox: graphics@matrox.com or www.matrox.com

The Reply Systems Mini from Herma is an inexpensive, robust and reliable audience voting system. It’s supplied standard in a 30 pack. Each system is supplied complete with the Base Station, 30 keypads, a licence for the Powercom software that has a 10 keypad capacity, all packed into a carry case. The keypads are inexpensive and can be worn with a lanyard, making them ideal for conventions, employee training, special events, and the classroom.

Herma: 1300 730 025 or www.herma.com.au

The Kramer Matrix iPhone application is the easiest way to locate any product from Kramer, either by name, functionality or format. It is Kramer’s proprietary product search engine that is organised using the same logical approach that any ProAV industry professional would use to determine a product for a specific application. This mainstay feature of their web site is now available as an app for use on iPhones. Go: kramerelectronics.com/products Kramer: www.kramerelectronics. com.au

The new HD Player Pro from AV Stumpfl supports professional hi-def video playback from CompactFlash cards. Video walls, multi-display and 3D projects can be implemented simply and cost-effectively using the player’s syncing function. HD Player Pro also supports higher data rates of up to 40Mbps for even better video quality, as well as splitting of the display into up to three zones.

ITI Image Group: (02) 9477 5709 or info@iti-imagegroup.com.au

The new Vivitek D537W widescreen projector is a native WXGA (1280 x 800) projector boasting an impressive 3200 lumens in a 1.9kg case. The D537W also includes HDMI connectivity. For a short time the D537W will be available with a free lamp just like the D511 and D535 models. This will reduce the cost of ownership on this model and is a saving of up to $435.

Hills SVL: (02) 9647 1411 or www.hillssvl.com.au

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1/BARCO TURNS COOL

2/GOING TO EXSTREAMS

3/CONDITION STABLE

Barco has a new line of LED-lit, DLP-based video walls with an improved LED engine. The new OVL range reaches a brightness level that is ‘20% higher than any competing system’ without shortening the projection system’s lifetime. The OVL video wall range is offered in 4:3 ratio, with screen sizes up to 80 inch. Similar to Barco’s 16:9 LED video walls, the new OVL series has an advanced heat management system based on liquid cooling technology, which brings the LED temperature down to the optimal level. This results in a significantly longer lifetime of the projection system, amounting to 80,000 hours of continuous operation in eco-mode. It’s the liquid cooling that also makes it possible to boost the OVL’s brightness level or conversely to prolong the system’s longevity by lowering the brightness level, proof that liquid cooling is very effective in counteracting LED aging effects.

Barco: (03) 9646 5833 or sales.au@barco.com

The Barix Exstreamer P5 is an all-in-one solution for SIP and hi-fidelity audio-over-IP distribution, supporting universal IP standards including TCP/IP, RTP, SIP, Multicast and EtherSound. The amplified device directly connects any 8Ω speaker to an IP or EtherSound network. It enables zoning applications for multi-speaker systems and provides for individual local/remote channel selection and volume control.

The Exstreamer P5 also operates reliably in hightemperature environments. These features, along with Power-over-Ethernet (PoE) support, make the Exstreamer P5 well suited to use with overhead/ ceiling speaker systems. In fact, the device can operate in temperature ranges of 0 to 55°C and withstand storage conditions to 70°C. We doubt anyone’s going to stick around to listen to muzak in those sorts of temperatures, but it’s still useful to know. The Exstreamer P5 begins shipping worldwide at the end of January.

Powercorp: (02) 94763466 or networksales@powercorp.com.au

Gefen’s new GefenTV Auto Volume Stabilizer with Digital Audio Decoder is now shipping. Improving on the previous Auto Volume Stabilizer this version adds digital-to-analogue audio decoding for increased compatibility with stereo systems. Dolby Volume technology is used to even out audio spikes and dropouts or a bypass button is included for when automatic stabilising is not required. Three audio selections are provided with inputs and outputs supporting digital (TOSlink, S/PDIF) and analogue (L/R) audio formats.

Users can select from all three connected devices at the same time. Surround sound systems using Dolby 5.1, such as Blu-rays, DVDs and games, are all supported and audio can be mixed down from 5.1 to left/right analogue audio thanks to Dolby AC3 decoding. Installation requires a straightforward connection of the GefenTV Auto Volume Stabilizer with Digital Audio Decoder in between three audio sources and the A/V receiver. It comes with an IR remote, but a front-panel button can be used for source selection when you lose it.

Amber Technology: 1800 251367 or www.ambertech.com.au

4/ EO TWEAK THE TOP END

5/ PANASONIC GOES PEAR-SHAPED

6/SUPER SONY

TIO Stadium in Darwin is probably better known to AFL footy fans as Marrara Oval. In late 2009 an upgrade of the audio system was approved and local consultants GHD was appointed to prepare the spec.

With the heat, rain and humidity of Darwin’s tropical environment, careful consideration was given to the type of loudspeakers to be used in the install and Community R and WET Series were selected.

Eo Design was awarded the project. 15 bi-amped Community WET Series W2-322L-64H loudspeakers were mounted on each truss on the grandstand canopy and 22 Community R-Series R.5-66TZ and five R.5HPT loudspeakers were pole mounted around the remainder of the ground. All of the loudspeakers were driven by QSC ISA800 Series amps and system control was handled by four QSC Basis 922UZ units.

Eo Design: (02) 96539969 or www.eodesign.net.au TAG: (Community, QSC): (02) 9519 0900 or info@tag.com.au

Panasonic has launched a new three-chip DLP projector that offers geometric adjustment for projection onto spherical, cylindrical and other specially shaped screens for highly effective digital signage and striking images at concerts, performances and other events. The PTDZ110XE makes it easy to create different screen shapes simply by using the remote control and the unit can also be rotated 360º vertically for installation at any angle. A multi-screen feature allows the projection of very large content using up to 100 units at a time. The PT-DZ110XE has 10,600 lumens of brightness, native WUXGA (1920 x 1200 pixels) for full hi-def viewing and a 10,000:1 dynamic contrast. Precise control over a LAN is possible as well as scheduling operations without the need for a PC or software. Sounds awesome, but of course it comes at an awesome price ($64,349), and that’s not including a lens.

Panasonic: 132 600 or www.panasonic.com.au

Sony has unveiled its first professional handheld digital production camera with a Super 35mm imager. The new PMW-F3 camcorder is designed for a range of digital production environments that demand the flexibility offered by a large frame sensor – from commercial, documentary, television and feature film production to capturing education, event and corporate content. The on-board recording capability of the new F3 camcorder is based on Sony’s XDCAM EX workflow and uses Sony’s SxS ExpressCard-based recording media. The Super 35mm CMOS imager delivers shallow depth of field with high sensitivity and low noise levels. Through the use of an HD-SDI dual-link output for external recording, footage shot with the F3 can be seamlessly inter-cut with content shot on other Sony digital cinematography camera systems. Available in February and priced under $19,000.

Sony Australia: 1300 720 071 or www.sony.com.au

Share Your Knowledge Through LG LG has a wide selection of commercial displays, designed with a robust set of features and engineered for maximum performance and reliability. Engage and inform in any environment, by delivering impactful and innovative signage.

Whether it’s to educate, inform, motivate or simply corporate communications, LG helps you get your message across.

LG Commercial Displays are available in a range of sizes and built for use in various applications.

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Full HD and HD resolution models Portrait or landscape orientation Multiple software compatibility Distortion free image

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For more information contact the LG Business Solutions Team Telephone: (02) 8805 4409 Visit: www.lg.com.au/business-solutions Email: b2b@lge.com.au

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FEATURE

Light Work Singapore’s Marina Bay Sands mega palace of hedonism scored a laser and lightshow deserving of its $5.7b price tag. We talk to the Australians who masterminded it.

Text:\ Graeme Hague

We’re in an era of ‘mega’ structures.

Tall buildings that even Superman will need a leg-up to leap in a single bound; architecture that defies gravity and looks like something from the cover of an Isaac Asimov novel. Mega structures demand mega-opening ceremonies, which usually means mega-light and sound shows. It’ll be no surprise to know the newest skyscraping wonder, the Marina Bay Sands in Singapore, comes with a casino.

The job of drawing attention to it and luring the punters through the doors with a dazzling display was awarded to Laservision from Australia, along with local support from the Showtec Group.

BIG BUCKS, BIG POOL

It’s worth looking a bit more at the complex itself, not just to be amazed at the bricks and mortar facts, but to get a sense of the daunting task that the Laservision team were dealing with.

Hailed as the world’s most expensive ($5.7 billion) standalone casino, Marina Bay Sands is a sprawling resort and casino fronting the ocean in Singapore.

Aside from the casino section, the complex also features a 2560-room hotel, a 120,000sqm convention and exhibition centre, a shopping mall, an art and science museum (always a big hit with the gamblers), two theatres, six restaurants and two floating pavilions. The casino has 500 tables and 1600 slot machines. Three towering structures are topped by the 340m-long SkyPark (in comparison, the MCG is a paltry 171m from fence to fence), which is a theme park with capacity for 3900 people. There’s also a 150m-long infinity swimming pool set

on top of what is currently the world’s “largest public cantilevered platform”.

(If like me you’re wondering about the “public” bit and what non-public platform is bigger, you may Google in vain. But I’m guessing something at Cape Canaveral.) Anyway, just looking at pictures of the pool sitting almost incongruously high above the city is enough to give most people vertigo.

They must have had one hell of a garden hose to fill that.

TEST RIG

For this project Laservision turned to Colin Baldwin, who has a long track record in designing and running largescale multimedia events. Colin and the Laservision team arrived at Marina Bay well before the final building was finished to carry out some preliminary planning and invite several suppliers to help offer some solutions to problems.

His initial attempts at testing various lights and designing a rig – if you can call such an undertaking a mere ‘rig’ – were often thwarted by being on what was still essentially a construction site.

Equipment would be shifted overnight, routes blocked, scaffolding and boom lifts would magically appear and take over an area... it wasn’t easy. Sometimes just getting into one of the elevators required politely, but firmly, ejecting some of the workers to make room and allow the overload mechanism to reset.

To further complicate the project, the resort already had, or was going to have, a large number of effect lights that would be permanently installed and could be used during the ceremony.

They needed to be integrated with whatever specialist fixtures Laservision brought in for the show, but at this

stage many of them hadn’t been fitted, and it was difficult to envisage just what impact they might have. Laservision flew these fixtures in ahead of schedule so they could be integrated with the ceremony’s lighting design.

CHOOSE YOUR WEAPONS

The three spectacular towers supporting the theme park are the Sands Hotel.

Much of the rest of the complex such as the exhibition centre, casino and theatres occupy ground level space and share a large, concave roof structure.

To light the roofing, Illumination Physics IP36 LED washlights were selected and put in place just in time for the ceremony. This aspect of the design alone required 998 of the IP36 fixtures; that no one could find space for another two and make it an even 1000 reveals a disappointing lack of a sense for the dramatic, but never mind...

The 12 sheer walls of the hotel towers are also shaped with unique curves and oblique lines that carry upward for the entire 57 stories and lighting these was another challenge.

After dabbling with a few ideas, Robe’s CitySkape Xtreme LED fixtures got the nod. The Xtremes have twin-blades of 94 Luxeon K2 RGBW LEDs and a selection of lenses that were combined to cover the area.

SHIP IN THE NIGHT

And in one of those quirky bursts of inspiration that architects are prone to, the SkyPark is supposed to be reminiscent of a ship travelling through night – albeit more than 300 metres above the perfectly good, real ocean under its keel. To create this illusion, some 14 DTS XR3000 1200W moving

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“Sometimes just getting into one of the elevators required politely, but firmly, ejecting some of the workers to make room and allow the overload mechanism to reset�

Image courtesy Colin Baldwin

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High-gain parabolic antennas point across the bay to receive the eight universes of DMX data from the control position in the Fullerton Hotel.

spots inside Tempest’s Tornado domes were positioned on the roof of the casino area with animated gobos installed. Special gobo slots were manufactured to mask the light away from hotel suite windows close to the base of SkyPark and the effect of water moving along the ‘hull’ was complete.

Things got serious in June 2010 with the return of Colin with the Laservision crew and the beginning of the bump-in proper for the ceremony in conjunction with Showtec. Along with clean socks, boxers and a toothbrush, Colin and the Laservision team brought 14 Alpha One Falcon Beam 7kW xenon searchlights, 18 Syncrolite 5kW and 7kW xenon searchlights, 36 CitySkape Xtreme LED washlights and seven Laservision Stella Ray YAG lasers to be deployed along the water’s edge of Marina Bay. Now it was a ‘simple’ matter of making it all work.

ROOM WITH A VIEW

The scale of the project and the size of the canvas they were working with produced a problem of its own – how and where they could operate the equipment with a clear view of everything. The answer was from 800m away and across the other side of the bay – yes, the bay… the thing filled with salt water and lots of creatures that want to kill you. Running cables around the rim of the bay was logistically too hard (and would enormously increase the length of the runs) because of major roadways and buildings.

The solution was to establish a wireless link directly across the water.

We all tend to take this type of approach for granted these days. Large events like Olympic ceremonies and World Cups have got us used to employing multiple – I mean

Weather-protected DTS XR3000 profile spots project moving water ripples on the underside of the SkyPark .

The images on this page are courtesy of Laservision.

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Subtlety was never one of the design paramaters for this spectacular opening display. In any other context just one of these buildings would be an eye-catching and noteworthy sight. (Photo: Ryan Marginson)

EXPLOSIVE RESULTS

multiple – wireless networks over long distances. But this was still a big call by Laservision and a credit to them that things worked flawlessly. It was nearly a kilometre between transmitters and receivers, and don’t forget the airwaves around Singapore probably carry more radio traffic than the Pentagon on payday.

Eight DMX universes were carried via Wireless Solution W-DMX links from a suite in the Fullerton Hotel straight across the bay, to the roof of the Marina Bay Sands building.

A grandMA2 full-size running in Series 1 mode and a grandMA2 ultra-light console were used for lighting control with the latter being on Level 4 of the casino opposite and being triggered via one of the DMX links.

Everything was programmed and ultimately run from the room in the Fullerton.

The end result was a stunning 15-minute display that started off quite subtly and built to a crescendo of blazing, flickering lasers spreading across the whole bay while the resort itself became an explosion of lights and colours. The light show stood on its own without any accompanying audio. The sequence was run every quarter of an hour from dusk until midnight. Event managers also organised cameras to be set up on the Fullerton Hotel side of the bay with the vision broadcast on large-screen displays at VIP events inside the complex.

While it was a huge success the final design and programmed performance was actually temporary, but will form the basis of a permanent son et lumiere shown daily by the Marina Bay Sands that’s expected to entertain 10,000 people every night. 

PRODUCTION TEAM Project Director: Colin Baldwin Event Manager: Shannon Brooks Technical Production Manager: John Cashion Head Lighting Technician: Patrick Williams GrandMA Programmer: Ryan Marginson Laser Technician: Robert McRostie Lighting Technician/Laser Programmer: Daryl Bowen Lighting Technician: Regan Hammond Lighting Technician: Glen Beilenberg Production Assistant: Bianca Hill Showtec Manager: Choony Yip ‘Weng’ Showtec Lighting Technician: Boyd Yeo Thong Showtec Lighting Technician: Toh Say Kiat Showtec Lighting Technician: Bernard Lee

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FEATURE

LX Factor Lighting and vision unite to overwhelm TV viewers.

Text:\ Paul Collison Images:\ Mark Bedson

The X Factor Australia was the largest weekly television production in Australia in 2010. The final live shows were recorded at Fox Studios at Moore Park in Sydney after a long audition run that visited most capital cities around the country. With an impressive collection of cast and crew exceeding 140, the show was broadcast live nationally on the Seven Network. Including the Xtra Factor (the behind the scenes show broadcast on 7 Two), The X Factor franchise accounted for almost five hours of live television each week. Delving behind the scenes, you find over 100 dedicated crew working almost seven days a week.

Let’s take a closer look.

X MARKS THE SPOT

Lighting a show like this is no mean feat.

In excess of 200 moving lights made up the lighting system supplied by Chameleon Touring Systems. Within certain design parameters from the show’s creators in the UK, Ian Anderson, lighting designer for the series, chose predominantly Vari-Lites for the show; preferring their snappy colour and gobo wheels, combined with the Vari-Lite colour palette. Ian also chose a fresh range of gobos for the Vari-Lite 3000 Profiles, noting that the standard set had been done to death and this show needed some new looks. Framing the outside of the LED screens was an array of Martin Mac250 Beam lights. These fixtures provided the big beam effects that would punch through most looks. Sprinkled around the set were High End Showguns, Martin Atomic strobes with scrollers, Pro Shop Fusion Bars, L&E mini strips with generic 8-Lites and ETC profiles flying the flag for the traditionalists.

From the outside, it might look as though it was a case of using whatever lighting fixtures were available; however Ian gave considerable thought before choosing the appropriate fixture for each position.

From week to week, particular lighting fixtures made an appearance to specifically ‘treat’ different performances. These performances might be a special guest performance on a Monday night, or a particular contestant’s performance that leaned toward something a little more than the standard lighting system. Everything from Chromlech Jarags to incandescent festooning were brought in. In some cases it was a strategically placed bar of parcans or a handful of Martin 301 LED fixtures behind a band.

HEART WARMING KEY LIGHTS

When it came to lighting the talent, Ian took a new approach. Steering away from traditional Xenon-based follow spots with colour correction, Ian chose to use the Robert Juliat Alex 2.5kW incandescent followspots. Ian notes that these followspots really made a huge difference to the quality of picture. “Starting with a tungsten source led to a cleaner look,” Ian states. Combined with the RJ followspots, there were 26 ETC Source Four Revolution moving profile spots. As hosting positions could change at a moment’s notice, even during the show, the Revolutions were relied upon heavily.

Lighting Director of White Light, Hugh George admits “the ETC Revolutions were a great fixture to have on call.” Having moving heads for key lights meant that there were very few limitations around the set when it came to a hosting or special

performance position. Just as important to Hugh, were the Martin TW1 fresnel fixtures which allowed for a wider wash opportunity, again for various locations around the studio. Used with narrow lenses and eggcrates, the TW1 fixtures provide most of the stage wash for guest performances and larger production performances. Topping off this was a Robert Juliat Super Korrigan HMI followspot as a backlight; its higher colour temperature stamping a familiar backlight hue on all the performances.

Amongst all of the moving lights, was a wide gamut of LED set lighting.

Surrounding the towers, LED screens and stairs, was RGB strip lighting installed

by Mark Hunt of Lightopia. These LED fixtures became part of the lighting system, often defining areas of the stage for different performances, or remaining off, in order to establish an infinite black to give great depth to the massive space.

One thing to note when looking at the X Factor series was how the video element of the show was brought under the direction of the lighting department. As the video and LED

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“ultimately, each performance received personal attention and a unique look�

Photographer Mark Bedson

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LIGHTING AND VIDEO PRODUCTION CREDITS Production Lighting Director: Ian Anderson Lighting Director, Visuals: Paul Collison Lighting Director, White Light: Hugh George Graphic Design: Glenn Wilson/Polydivision Lighting Assistants: Ryan Swan, Graham Anderson Lighting, Rigging & Drapes: Chameleon Touring Systems Chameleon Project Manager: Brad Gander Chameleon Crew: Daniel ‘Bob’ Perrin, Grant Hickey Rigging: Pollards Pyrotechnics: Howard & Sons Video Screens: Technical Direction Company (TDC)

Photographer Paul Collison Screens 1 and 3 are Barco C11 (formerly ElementLabs Cobra 11). Screen 2 is a Barco ILite 6mm. The cylindrical towers are formed from runs of VuePix P25 mesh. The overhead strips are Barco (formerly ElementLabs) Versa Tube 3 , while the floor strips are the new Barco MiStrip.

components of the show played such a huge part in the overall scenic landscape, it made sense that these devices be driven, both creatively and technically, from the department responsible for the overall look of the show. This not only expanded the lighting department to a third lighting director of Visuals (in this case myself), but also centralised the creative point of view for each performance.

VIDEO SCREENS MAKE RADIO STAR

The visual system was composed of seven LED surfaces controlled by eight Pandoras Box media players.

Screens 1 and 3 (left and right) were Barco 11mm (Cobra) C11, the centre screen comprising a crisp Barco 6mm pitch iLite. All three screens supplied

by TDC of Sydney, ran through the Global Television OB trucks so packages could be sent through directly to each screen.

The roof LED was made up of 280 Barco Standard Definition Versa Tubes (20 pixels/metre). The floor was comprised of 360 new Barco MiStrip (13.25mm pitch), specially brought in for The X Factor Series. The MiStrip is “a great product” notes Ian. “It’s bright and clear. Just the product we need for defined images on the floor.”

Tony Davies of Chameleon Touring

Systems is happy with the addition of the MiStrip to his hire inventory, noting that a lot of designers are looking to include the MiStrip on future projects.

Left and right of the stage were single strips of VuePix P25 LED (25mm) panels from TDC making up the curved towers. Martin LC panels filled the holes remaining in the set. The different pitches of LED all combined to create different textures across the stage. A look that, while on paper may not seem ideal, in reality made for an interesting spectacle.

For the first time on an Australian series such as this, roughly 90% of the content for all the LED surfaces was custom created. Glen Wilson of Polydivision worked closely with the design team to build content specific for each performance. Labouring tirelessly from every Tuesday, through to sometimes moments before air on Sunday evening, the design team built content in varied forms, for every performance.

Having roughly two and a half days to conceptualise and build the content is not an easy thing to do. Friday morning meant loading content on to the systems and working to build looks with all the lighting and LED elements ready for rehearsals on

Saturday. Often at this point, mentors, producers and anyone with vocal chords would make their opinions known. Changes would take place on site right up until (sometimes even during and after) the dress rehearsal on Sunday afternoon. Having the ability to manipulate content at its base level on-call, allowed for a creative freedom not often seen with video. More often than not, these elements can be locked in days, weeks and even months prior to an event.

Of course this freedom meant that changes often did occur.

One of the greatest things the team realised early on, was the ability to really build a set in the screens. This meant things like drapes, vertical trusses or old cars could easily be ‘placed’ on stage. This also led to laneways being created, bars, windows and walls. Overall this meant that not every song needed an animated background, giving the show time to breathe and allowing for distinctly different looks, with apparent ease.

Like any project, some of the content never made it to air and some was drastically changed at the last minute, however ultimately, each performance received personal attention and a unique look.

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Photographer Mark Bedson A striking theme immediately apparent in the visuals of The X Factor is the tight integration between the content of the video, the mapped LED elements and the lighting. Reality TV – fancy squandering all that design talent on a bunch of wannabe performers.

SELLING YOUR SOUL FOR TOTAL CONTROL

Controlling such an expanse of lighting, LED and video was always going to be a concern. How does one centralise control without compromising agility and ability?

Enter grandMA2. Why grandMA2 when grandMA1 has done well for so long? Series 1 may well have done the job, however, the expanded capabilities of GMA2 meant we could run the show in a single session. This allowed for one user to trigger not only a lighting cue, but also a video cue, pyrotechnic effects and even audio from one of the media players. For moments such as a ‘Deadlock’, a single button press resulted in an audio cue, lighting cue and video cue executed uniformly. By filtering programming into different worlds,

users could program separate looks in the same sequence or individually.

Three primary consoles ran each show. Breaking down to white light, moving (coloured) lights and media servers. A fourth surface acted as a remote on the floor and back up.

Although, it is worth mentioning that the backup surface was never called upon.

Howard & Sons worked closely with the lighting department to allow control of the CO² jets and flame effects along the front of the stage. Again with a view to centralising control, all of these effects were triggered from the lighting consoles, with an override deadmans-switch controlled by the licensed pyrotechnicians. You would think that controlling all of these elements would lead to some megalomaniac behaviour. Although,

not apparent during the season, it might be worthwhile noting that if there is a second season of The X Factor , the lighting department is looking to assume responsibility for audio, staging, catering and some producing positions.

LOVING YOUR X

Even though the show was heavily based on the original UK production, the final show was tailored for the Australian market. The fact the show ever got off the ground in its immense state is a testament to not only the show’s producers, FremantleMedia, but also the goodwill and hardworking crews from Chameleon Touring Systems, Technical Direction Company (TDC), Howard & Sons and Jands Production Services. 

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FEATURE

The Brightest Kids in Town Big Hair and Big Screens make an indelible impression in the exciting Australian production of Hairspray.

Text:\ Matt Caton

When the much-hyped and highly anticipated production of Hairspray landed in Melbourne off the back of its longrunning Broadway success, there were many who worried that it may just be another pale imitation of what the rest of the world got to see. However, those naysayers were unaware that the Melbourne production was to be accompanied by a level of technical achievement never before seen on an Australian stage. If you think that sounds like an overstatement, then you clearly haven’t seen the visual feast the Hairspray production team have served up at the Princess Theatre.

It’s hard to imagine now, but Hairspray originated from a not-particularly-successful 1988 film written and directed by John Waters that eventually became a cult classic on video. Adapted for the Broadway stage in 2001, the musical went on to win eight Tony Awards and run for 2500

performances, becoming a worldwide hit in the process. In 2007, a new film version starring John Travolta filled cinemas right around the world and exposed the musical to an even broader audience. But despite its success in both Hollywood and Broadway, this production from Dainty Consolidated Entertainment and Roadshow Live could potentially be the most sensational of the lot.

The level of excellence in all areas of this production of Hairspray is impressive. Quite simply, the show is big; it’s about big themes, with big characters, big dance numbers and of course, Big Hair. However, it’s hard to talk too much about this production without getting excited about a set design consisting almost entirely of multimedia displayed on big LED screens.

From the very first moment you enter the auditorium you are met with a giant 1960s style television. LED strips around the proscenium create a border around the

screen, which sets the ’60s mood with black and white clips of I love Lucy, The Twilight Zone, Lassie, The Rocky & Bullwinkle Show, as well as footage of Martin Luther King Jr., JFK and even a young Fidel Castro.

At this point you know that you are in for something special, but to be honest, nothing can really prepare you for the visual onslaught that you are about to experience.

THE MEDIUM IS THE MESSAGE

As the show begins, the ‘screen’ splits into three, moves downstage, and eight LEDscreen legs come into view. While this in itself is enough to impress, it isn’t until the almost psychedelic animation starts up that the real genius of this design becomes apparent. It’s like being transported into your favourite computer game or cartoon show where somebody has gone overboard with the contrast and brightness settings. Or as an audience member behind me described

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The main screen, which consists of 96 VuePix 6mm panels, splits into three sections that move independently up and down stage and in and out in height, to match the floor levels created by the stage lift sections. The total image on the main screens exceeds the resolution of HD video. After some fairly serious and stressful teething problems, the screens have settled down for what is looking like a long run for the production. Behind the screens can be seen the LED-lit full colour cyclorama . (Photo: Jeff Bushby)

it, “I think my eyes are having an orgasm.” It makes you wonder how many of the people behind the animation actually spent time in the 1960s; and if they did, it makes you wonder what they got up to!

This ‘media only’ set design was initially conceived by Director David Atkins, who teamed up with Production Designer Eamon D’arcy, Lighting Designer Trudy Dalgleish and Technical Director Richard Martin to take this ground-breaking design from the drawing board to the stage of the Princess Theatre. Dalgleish is very pleased that David Atkins’ vision has been realised so successfully. “The design presentation given at the first day of rehearsals is the show that you see in the theatre today. I think visually the show is ground-breaking and a totally new way of presenting theatre.”

The flexibility that this type of design allows for is unprecedented. The set changes require very few stage crew, and scenic

transitions occur as easily as they would in film, with layers of media scrolling up and down seamlessly jumping from one scene to the next. Live video is fed to the screens at numerous points in the show and on occasions characters are even followed around by animated shadows. The screens are also used ‘interactively’, with characters turning off images of light switches and televisions, opening windows, closing doors and at one point, jumping into the animation itself (which I must admit, is the singularly most impressive thing I’ve ever seen in live theatre). No matter how many superlatives I throw at this [and he certainly has given it a good try – Ed], it really won’t do justice to this design.

THOSE SCREENS

The set contains 12 high-luminance LED elements built from VuePix modules. There are four stationary masking legs of 10mm

LED modules on each side of the stage and three onstage movable screens of 6mm LED modules. The larger centre-stage screen creates the main backdrop for all scenes.

Screen content is distributed in DVI format via optical fibre backed up by a second set of redundant fibres and a changeover system.

Apart from one scenic piece flown in during Act 2, the screens make up the entire set.

The three main screen elements move up and down, as well as upstage and downstage via four 22kW hoists controlled

by StageOne’s Qmotion system. Head of Automation, Alistair Lee, describes the coordination of the screen movements as “the most technically challenging aspect of the automation process.” In the same way that films such as The Matrix and Avatar were hailed as revolutionary breakthroughs in cinematography, Hairspray will undoubtedly change the way theatre set designers approach their work.

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The 128 VuePix 10mm panels that form the stationary side legs blend seamlessly with the 6mm moveable main screens to form a coherent cartoon-style back-drop for the production.

The jail bars are the only scenic unit in the production apart from the screens. Lighting designer Trudy Dalgleish uses a palette of highly saturated colours to tie in with the graphic style of Robbie Klaesi and Eamon D'Arcy's visuals . (Photos: Robbie Klaesi )

Due to the unprecedented complexity of the multimedia design, it was felt there really wasn’t a media server in existence capable of doing exactly what was wanted. However, as director David Atkins had previously used E\T\C Audiovisuel’s OnlyView realtime multimedia control system at both the Vancouver Winter Olympic Games and the 2006 Doha Asian Games, he considered it to be the best available choice.

Electric Canvas from Sydney supplied the dual-redundant OnlyView systems and undertook all the programming for the hundreds of video cues required in the production.

Because the screens are never dark, there are times when the video servers are paused and held in a loop until the musical director uses a foot-pedal to trigger a new video replay sequence at the start of a musical number. The video then runs in lock to the music timecode until the end of the number. Many other cues

are called by stage management in the timehonoured manner.

All of the motion graphic content was created by Digital Pulse, while the staggering 2874 individual media objects (made up of QuickTime animations, stills graphics and sound effects) were incorporated into the show by Creative Director of Digital Content, Robbie Klaesi. Robbie, who was responsible for loading the half-terabyte of data into OnlyView, kept the setup of the media server as simple as possible. “The system is split up into two segments to keep it simple. One video server feeds the centre cluster of screens (the moving screens), the other server feeds both sets of legs (left and right).” The live vision in the show is fed into OnlyView from three fixed cameras via vision switcher.

SHEDDING A LITTLE LIGHT

Trudy Dalgleish had the almost unenviable job

of lighting a stage and set brimming with high luminance LED screens. “The real challenge was to try and pull people out of such an overwhelming visual and bright background.

The show’s content runs like a continuous cartoon that the cast interact in and with so most of the time the cast was only around 300mm to 500mm from a screen. A lot of side lighting was needed that lit the cast but didn’t spill on the screens. We had to run the screens at 6 to 8% to have any chance of seeing people’s faces and most of the time the only light that hits any screen will come from a followspot.”

The close collaboration between the lighting and design teams was obvious, with the highly saturated lighting appearing almost cartoonlike, accompanying the media design perfectly.

With the LED screens occupying most of the volume above the stage, Trudy used truss that ran upstage to downstage rather than the conventional across stage arrangement. The

PRODUCTION CREDITS Producers: Paul Dainty (Dainty Consolidated Entertainment) and Joel Pearlman (Roadshow Live) Director: David Atkins OAM Production Designer: Eamon D’Arcy Lighting Designer: Trudy Dalgleish Creative Director: Digital Content – Robbie Klaesi Producer Digital Content: Tracey Taylor Graphic Illustrator: Frantz Kantor Motion Graphics & Digital Effects: Digital Pulse Technical Director: Richard Martin Company Manager: Alicia Brown Automation System: Qmotion Head of Automation: Alistair Lee OnlyView system & Programming: Electric Canvas LED screens/VuePix & Lighting: Bytecraft Entertainment Bytecraft Systems Supervisor: Andrew Holmes

impressive rig complements the visual explosion happening on stage with a series of moving fixtures, including a large number of Martin MAC2000 XBs for wash and Vari-lite 3000 Spots.

Conventional lighting is via series of ETC Source 4 profiles with LED colour washes coming from 14 Martin 301s and 40 Colour Kinetics ColorBlasts and the cyc wash from CK ColorBlaze units. Two grandMA and two grandMA lite consoles control the entire lighting system, while 10 Jands HP12 dimmer racks provide the dimming. Power distribution for the moving lights and the LEDs is done by 18 x 12-channel 2.4kW Power Distros.

When asked which was her favourite scene in the show (from a technical perspective, of course), Trudy named about four of them. But when pressed to pick just one, it seems the opening number takes the prize “I also love Good Morning Baltimore at the top of the show, it’s great to see people’s faces when they first see the show in its full glory. It’s sensory overload and people are gob smacked!”

It is hard to look much past a set and lighting design of this nature, but I suppose it would be remiss of me, and a little unfair on the cast, to speak so glowingly of Hairspray and fail to mention that the show itself is also pretty darn good! 

034

FEATURE

Walk in The Park Biamp’s new Vocia makes light work of Sydney Olympic Park’s distributed PA and paging.

Text:\ Tim Stackpool Images:\ Courtesy of The PA People

When designing a site-wide PA and paging system for a location that contains multiple Olympic size arenas, parking zones, public amenities and corporate function areas, you could be forgiven for throwing you hands in the air, tossing the toys out of the pram and walking off in a huff, claiming “it’s all too @#$%& difficult!” But with around 10 million people visiting Sydney Olympic Park each year, emphasis on crowd control and overall safety required that a comprehensive and effective system be developed and implemented to world class standards.

Local favourites, The PA People, was charged with the task, and after consultation with the client and a study of industry trends worldwide, opted for the then-fledgling, Biamp Vocia system.

Described as a network-centric, decentralised multi-function audio system, Vocia was able to deliver advanced paging and public address services across large multi-zone systems. In this instance it provides “site-wide paging and message scheduling services for the Sydney Olympic Park precinct,” according to The PA People’s system engineer Damien Juhasz.

Back at the Biamp R&D facility in Brisbane, Vocia was developed to provide a solution for areas that was outside its traditional markets of conferencing and sound reinforcement. The goal was to bring a focused, but easy to deploy, system to the market. It needed to be simple to physically install while giving the customer a solution that was cost effective and extremely easy use. More complicated and higher-end features were developed due to the advent of stricter standards being expected with regard to ‘life safety requirements’. As such, a Vocia installation does away with the need for an occupant warning system to be separate from a venue’s public address systems.

Vocia merges them into the one entity.

DISTRIBUTED ARCHITECTURE

Vocia achieves this through a decentralised architecture that distributes processing and page routing across the network, eliminating the potential for a single point of system failure. Vocia uses standard audio over IP technologies such as CobraNet to lower the cost and effort of implementing single-site systems, as well as existing IP networks for multi-site installations. But Vocia’s point of difference is the way in which it implements this technology.

To overcome the traditional bandwidth limits of CobraNet, Vocia uses an event-driven architecture that allows for the channels to be opened and active during any particular event and then stripped off the network once complete. There is no need to set IP addresses or routing matrices.

Sounding complicated? Not really. All elements can be monitored for status and installation integrity and there is no need for individual addressing of components. Each device is given an ID that is ‘dialledin’ on the physical hardware and is simply detected once attached.

The Vocia network then begins to tell the device what its role is and sends it the appropriate configuration. The obvious advantage? Field replacement of components is possible by personnel who are not specifically trained in the gear. Kind of like plugging in a phone.

FEATURE

035

The paging and emergency announcement system for Sydney Olympic Park covers all of the public and workforce over a substantial precinct.

036

FEATURE

To provide coverage of pedestrian areas, speaker cabinets are located in the bases of the light towers and on streetlighting poles throughout the concourse. As there has never been sufficient budget allocated for the provision of weatherproof cabinets, over its decade of operation the Olympic precinct has seen two, and sometimes three, replacements of weather-damaged speakers. cabinets.

All non-emergency devices are powered via PoE (Power over Ethernet) technology using industry standard switching hardware.

In the event of an emergency, all non-essential devices are locked out of the network and any life safety and control interfaces, along with amplifiers and emergency call stations, remain active. In the unforeseen event that everything goes pear-shaped, all emergency messages are physically stored within the amplifier, and can be played directly to the attached venue speakers. That’s clever.

SYSTEM DESIGN

Sydney Olympic Park is the first-ever Vocia installation worldwide. Here’s how it came together: The heart of the system is one networked Vocia Message Server (MS-1), which supports global paging, message playback, event scheduling, the VoIP paging interface, logging, remote access, inter-world paging and communications; all via TCP/IP. For voice paging, the system uses five Desk Station 4 (DS-4) desktop networked paging stations, each offering four user-configurable page codes, and two Desk Station 10 (DS-10) units which allow up to 999 page codes. The system utilises four six-channel Vocia Input (VI-6) expansion devices to input analogue audio sources into the Vocia system for use as background music.

The paging zones of the system are supplied audio by a combination of 11 Vocia Output (VO-4) units that convert four channels of digital audio input into line-level analogue audio outputs or 21 networked multichannel Vocia Amplifiers (VA-8600).

Each amplifier is capable of providing eight channels of modular amplification with up to 2.4kW of power per chassis, with an optional channel-to-channel or deviceto device fail over. Installed in these 21 amplifiers is a total of 62 AM-600 amplifier cards. Each amplifier is capable of housing up to eight AM-600 amplification modules with capabilities of 100W to 600W per

module and a maximum of 2.4kW per VA-8600 chassis. The AM-600 amplifier modules offer software configurable power levels and load options and the ability to select either direct drive at 70V or 100V, or low-impedance (4Ω or 8Ω) operation.

This equipment is spread across the site at remote pylon and node rack locations that service adjoining speaker zones, all connected via a 1Gbps optical fibre network.

Each location contains a combination of VA-8600s, VO-4s and VI-6s, depending on the requirements of the local audio zones serviced by the node or pylon. Some pylons and nodes also contain a VI-6 to enable the input of field background music sources and radio microphones around the site, while other nodes also contain DS-4 paging microphones.

WORKING THE CROWD

“The Vocia system provides a very comprehensive set of DSP processing capabilities in each of the input and output devices of the system,” Damien Juhasz told AV. “We were able to use these tools to produce a system that delivers speech reproduction with a high level of intelligibility and music reproduction that has good spectral balance and clarity. Also the distributed nature of the Vocia system made testing and commissioning very easy on such a large site.”

In short, the Vocia system enables staff at Sydney Olympic Park to easily page to any location across the site. Using the Vocia software application, they are also able to centrally manage the Vocia system for the entire site, making it possible to route global background music sources, record and schedule messages, customise paging configurations and monitor the status of all Vocia equipment.

Additional features of the system include text-to-speech converters to allow for multilingual announcements to be

generated on the fly. As mentioned, powerful amounts of digital signal processing such as dynamics, equalisation, filters, crossovers and delay, allow for the design of highly intelligible acoustic spaces, assisting with meeting the more stringent requirements for speech intelligibility. Vocia’s ambient noise compensation algorithms and hardware also rate a mention, where the system very accurately adjusts amplifier output according to sampled ambient levels without requiring any gap in the program audio.

“Our aim was to design a site-wide paging system that was extremely reliable and fault tolerant,” said Juhasz. “Also the new system needed to be able to deliver the flexibility of the original site-wide paging system without the complexity.” But given the massive scale of the Sydney Olympic Park installation (near to 10 square kilometres), at its core Vocia remains a scalable system because every component contains memory and processing resources that communicate intelligently across the network.

Although the installation is not classed as a life safety system design, because the site was the first public installation of the Vocia system anywhere in the world, the deployment and design has set the benchmark. For the user, the installation at Sydney Olympic Park appears to have ticked all the boxes. According to Dominic Langan, the site’s manager for safety and security: “The system is extremely easy to use, very user friendly,” he said. “It meets all of our requirements.”

There are now several other deployments of Vocia at notable international sites, in various configurations, including airports in the US, India, New Zealand and Hong Kong.

A number of prominent hospitals around the world also use Vocia. Closer to home, The PA People is currently in the process of installations at Taronga Zoo in Sydney and Carrara Stadium on the Gold Coast. 

VA-6800s linked by 1Gbps optical fibre are located in the equipment racks in the bases of alternate light towers throughout the precinct.

They feed several generations of JBL 15+horn cabinets.

038

REVIEW

Tascam DR-680 If you’re looking for more in a portable recorder, be sure your pockets are big enough.

Text:\ Andrew Bencina

The portable SD card recorder market is a crowded one. Almost every pro and consumer electronics brand has bolted a couple of smallcapsule condensers to the top of a pocket-sized mini computer and thrown its hat into the ring. Many are really only suited to voice recording, while only the most expensive feature external microphone inputs. The DR-680 is the latest and most fully featured portable recorder in the Tascam range.

Although it’s an eight-track recorder you’d be wrong to think this is just the latest in a long line of Tascam multitracks. The DR-680 is a professional location recorder so you probably won’t be seeing many of them in budding musicians’ bedrooms.

Where they will find their place is perhaps a little harder to discern.

EIGHT IS ENOUGH

Unless you’re partial to some ludicrously baggy cargo shorts, the first thing you’ll need to accept is that Tascam’s DR-680 is not pocket-sized. Saying that, at about the same size as a half-rack unit and weighing in at 1.2kg (without batteries), it’s hardly cumbersome. It comes with a sturdy clip-on shoulder strap but I must say I was really yearning for Tascam’s optional CS-DR680 – an old-school padded satchel for the DR-680 with panels for cable and control access.

The left side of the DR-680 accommodates all six of the unit’s Mic/Line inputs. Channels 1–4 can be accessed via XLR/TRS combo jacks while, curiously, Channels 5&6 are TRS only.

Measurements suggest the case would have only needed to be 12mm deeper to accommodate six of the XLR combos so it seems strange that such a shortcut would be taken. The top panel is dominated by micro toggle switches for these inputs. All six can be assigned as either Line or Mic and all feature 48V phantom power, switchable in

pairs. Each mic input also features a Low/High gain switch (Low is the default) with fine gain trim provided within the software configuration options. While at times it’s nice to have these controls within easy reach they can be knocked relatively easily and I wonder whether they couldn’t also have been controlled from within software like many current audio interfaces.

The I/O complement is rounded out on the right side of the unit. Six RCA connectors provide direct outs for their corresponding input channels, while two coaxial RCAs handle the digital I/O supporting both S/PDIF and AES/EBU. A rubber dust panel protects the SDHC card slot (frustratingly no card is supplied) and USB connection, while a 12V (tip positive) DC power input jack rounds out the right panel connections.

Consistent with its more expansive feature set the DR-680 features both a headphone output and mono speaker for monitoring, both controlled by a front panel level pot. A continuous jog wheel and rotary control are provided for various aspects of data entry and menu selection, and while small, the front panel LCD display is clear and well laid out allowing for simple navigation of the nested configuration menus. A number of specifically assigned buttons make the selection of various function screens a breeze.

The DR-680 is capable of recording eight tracks of audio concurrently, although the track counts are limited by the assigned recording file formats.

Two-track WAV recording is possible up to sample rates of 192k, while eight-track recording is capped at an ample 96k. Recording direct to MP3 is also an option (though there are very few reasons why you’d want to, surely) and for this format there’s a maximum of four simultaneous tracks.

When recording there are quite a few channel configuration options. Channels 5&6 can be

PRICE: $1749 Electric Factory (03) 9474 1000 sales@elfa.com.au www.elfa.com.au

REVIEW

“be aware the Tascam does reformat your card so be careful not to lose those precious wedding snaps in your eagerness to capture some early morning magpie warblings”

assigned to either analogue Inputs 5&6 or the digital input, while the digital input can alternately be assigned to Channels 7&8. When not required for digital recording Channels 7&8 can capture the stereo output of a software mixer with volume and pan controls for all inputs. It’s a shame this mixer wasn’t allocated its own set of RCA or TRS outputs. Again, it seems like they could have been squeezed in.

IN THE FIELD

Despite recommending the use of higher performance (Class 4 or faster) SD cards I can confirm that the DR-680 will function perfectly well with some bog standard cards (in my case, a 2GB SanDisk SD card). Just as well, because when you first realise there’s no card packaged with your unit you’ll be scrambling for your digital camera.

Be aware the Tascam does reformat your card so be careful not to lose those precious wedding snaps in your eagerness to capture some early morning magpie warblings.

I have to say I found the DR-680 a pleasure to use. Configuration was really simple and I was able to get it set up and recording in a jiff. I captured a friend’s roots reggae outfit in a small PA-free venue with a pair of Oktava 012s mounted high towards the rear of the space. The results were clear and detailed, and truly represented the sound of the band and venue. The following weekend I stuffed the DR-680 with the requisite eight AA batteries and headed for Box Hill’s City Oval to capture the sounds of the Hawks Vs the Geelong Cats in the VFL. Using alternately an ElectroVoice N/D 468 and a Neumann U89ai the results were again really impressive, especially from the more focused dynamic. (Excerpts from these recordings are now available from the AV website.) Notably though, if you try phantom powering a mic while running from batteries be aware that the battery meter quickly begins to move with the perilous descent of a small hour-glass.

Overall, I really liked the DR-680 and I thought it did what it did exceptionally well. It’s well built, if not rugged, and does more than most people will require. But in the end that’s just it. If you can’t find a particular use for all of its features it’ll be difficult to justify the cost.

If that’s the case you might just be better off sticking with something for normal-sized pockets. 

REVIEW

FEATURE

Mitsubishi XD8100 An XGA dual-lamp single-chip DLP installation projector.

Text:\ Stuart Gregg

PRICE: $14,990 (inc GST) Mitsubishi Electric Australia (02) 9684 7777 mea_vis@meaust.meap.com

I haven’t looked at very many Mitsubishi projectors over the years so I was keen to see how this model performed.

The XD8100 is a single chip (0.7-inch Darkchip) DLP unit producing a quoted 7000 lumens with a 2000:1 contrast ratio. There are two colour wheel options, with one favouring overall light output and the other higher fidelity in colour reproduction. The unit I looked at was fitted with the higher output option.

You also have a selection of interchangeable lens and lens adapters to choose from, giving a good range of throw distances. The process of swapping lenses was not difficult, but as with most projectors, not designed to be done on a daily basis as might be needed in a rental business.

My first impressions of the projector were that it was built and designed well; it looks like a quality product. The white case and clean lines meant it would be unobtrusive in the roof of an install.

It has plenty of other functions and features that speak to its purpose as an installation product. Mitsubishi has borrowed from other departments and fitted this projector with a self-cleaning filter system derived from those in their air conditioning units. The filter can be set to clean itself to a schedule or triggered manually, this would hopefully lead to better overall cooling and a long-lasting product, as experience has taught me that heat is the major killer of projectors. The projector itself is fairly large but this again means there is plenty of room and air inside to keep the electronics cool.

Lamp life is reasonable with a claimed 8000 hours possible in the extended-life economy mode, although I have never meet anyone who uses projectors in economy mode, so you could expect 2000 in real-world conditions.

The projector is very quiet when running in both single and dual lamp mode and can be mounted in any orientation through 360° in any direction without any caveat about lamp life reduction.

BLENDING & BENDING

Other useful features include geometry and edge blending functions. While single-chip projectors would not be my first choice for blending, the option is handy and looked

to be fairly good, although with only a single unit to test, I can only comment on the menu options and how the curve appeared on our test image.

Geometry correction is extensive, with a decent range of keystone and corner adjustments, as well as the ability to correct for curved surfaces. As with all projectors, this eats into your available pixels and requires some pixel juggling by the projector. In the case of the XD8100 it did an okay job of this, given it is an XGA unit.

There is a full range of input connections with the usual VGA and BNC as well as both HDMI and DVI, so no need for awkward adapters. Control and network are taken care of by Ethernet, RS232 and built-in Crestron and AMX functionality. The menu layout and structure is not the most elegant around but is functional when you get used to it.

I ran a mix of sources and signal types through the projector from DVD on composite video, PC at VGA, Macs on DVI, camera on HDMI. The video pictures held were big and bright with reasonable colour and dark scene reproduction – as you would expect from a projector designed for multiple purposes and not tuned specifically for movies.

Analogue computer signals reproduced well, although on several signals you could get a better result manually than using the auto setup. As a single chip projector there is some flattening of certain colours (noticeable on the standard windows folder colour) but overall the picture was good.

Digital signals came in clean and the projector identified itself to the Mac without any issues. Using gamma and colour adjustments you can achieve a nice looking presentation image, but you would want to adjust each source individually and save as custom files to ensure you get the best out of the unit.

Overall this is a well built projector with some nice options and features, its picture quality is comparable with all good single-chip projectors and its build quality lead me to believe that it would make a great unit for digital signage and mid-size education installs. 

040

sound . light . vision Audio Technology

Display Technology

Digital Signage

Lighting & Staging

30th AUGUST1st SEPTEMBER

2011 Hordern Pavilion &

Royal Hall of Industries

Moore Park, Sydney Unified Communications

www.integrate-expo.com 2011

Education Technology

in association with

042

REVIEW

Spinetix Fusion Direct content creation and management for digital signage.

Text:\ Andy Ciddor

Spinetix has long had an authoring package to build the display material for its amazing little HMP-100 hypermedia player. Hyper Media Director (HMD) is a powerful and sophisticated authoring package for the Windows OS platform.

Although I haven’t yet had occasion to use it, I feel quite sure that my 30 years of programming and systems experience in everything from machine code to COBOL, C++ and Lisp, on machines ranging from super-minis to embedded systems, would stand me in good stead to learn enough Scalable Vector Graphics and extend my basic XML and PHP to really make HMD sing on a complex signage project.

SpinetiX has recognised there are an increasing number of digital signage applications that don’t need all the power offered by HMD, and that certainly don’t have the programming budget required to build even a simple signage application with that software. When you have a player that can fit on the back of any monitor, and draw little more current than the LED in the monitor’s power indicator, you’re going to find it used in a lot of small-scale signage applications… which is where the new Fusion authoring software comes in.

ON THE SAME PAGE

Fusion comes installed in all new HMP-100 and 200 players, and can be installed on all existing HMP-100 players free of charge. Even more useful is that it’s designed for use by just about any mug punter. Better still, it’s accessible to anyone with an internet connection and a device that displays web pages (round of cheers from the Mac OS, iOS and Linux communities).

To see just how easy it is to use and how readily accessible the player is to configure via the internet, I arranged to take one of the few beta test units out for a spin. In what is likely to be a fairly common configuration for off-site suppliers or contractors, the HMP-100 box was located in an office in Sydney and connected to the internet via a standard business ADSL 2+ link. I initially accessed it from my office at the other end of the country on a similar ADSL 2+ link, and later from our editorial office, via a nominally quicker cable connection.

As all of these were asymmetric links, with the usual strangulated upload capabilities, the connection speed was effectively a symmetrical connection running at about 1Mbps (roll on the NBN). Even at these speeds Fusion was very

responsive, no doubt due to background updates using Ajax (Asynchronous JavaScript and XML). Where an HMP player is being accessed at much greater speeds via the premises wired LAN or even an ancient 802.11g wireless link, Fusion will be very snappy.

Fusion is clearly designed to be used by people with little more experience at building presentations than putting together the occasional PowerPoint presentation for a product launch or a brain-storming session.

However, being easy to use doesn’t mean it’s dumbed down. The ability to create a library of presentation components, and then combine those components into a multitude of different presentations, is a very powerful technique.

Combined with the sophisticated but simple scheduling system, it allows apparently complex and content-rich signage displays to be built in little time, with limited design experience, and no coding skills.

LET IT SLIDE

The main tool that makes it so easy to assemble a presentation with Fusion is its extensive set of really useful slide templates from which to build programs. The Slide is a powerful tool in Fusion, allowing multiple pages of images and text fields to be displayed from a single template with no programming. Images are dragged and dropped onto the template and the accompanying text inserted into an input box. Even more powerful are the Slide templates that take the URI of a news or database feed, plus a couple of simple display settings, and produce a well laid-out continuous feed of news, weather, room bookings, diary events, screenings, catalogue contents, exchange rates or similar information.

Templates are great because they allow the great unwashed, with no training (and possibly also no talent) in design to ride on the coattails of skilled (and possibly also talented) designers.

The down side is, that with a limited set of templates available, the output from all Spinetix players could come to look the same. SpinetiX is aware of this potential shortcoming and is actively encouraging the development and sale of third-party template and component sets.

The other really useful tool in Fusion is the Playlist. By assembling groups of images or video clips into sequences, you can then build entire programs from the Playlists. If you get a little bit creative with the scheduling of Playlist

components, you can run the same program forever, but the content will change to suit the time of day and the day of the week. Throw in a couple of data feed slide templates, and you have an ever-changing, self-updating presentation.

USING FUSION

Fusion is really easy to drive. Most aspects of its operation are pretty obvious once you start to look around (as distinct from being ‘intuitive’), and if you’ve ever used PowerPoint most of the concepts are quite familiar. The user interface is clean, light and bright with big friendly buttons, and although none of them actually say ‘Don’t Panic’, you can feel the influence of the Hitchhiker’s Guide philosophy.

My only grievance is the recycling of some of the cute arrow buttons for more than one function. As someone with a life-long interest in user interface design, and a sometimes-manualwriter for the last couple of decades, I believe that it’s a mortal sin to confuse the poor user by having the same symbol or button do (or mean) different things. In Fusion the Right arrow button is used for Move Right, Edit, Use and Remove, while the Up arrow button is used for both Move Up and Activate. At least the X button always means delete.

WARMING TO FUSION

The version of Fusion I have been playing with is in late beta, and although I’ve found a few minor glitches in the three-day-old build that I’m using, I know the next build I see will have more useful features and a different set of glitches. Maybe there will even be some more buttons added to the library to relieve the strain on those poor overworked arrows.

Fusion looks to be a good tool that will further enable the spread of digital signage into even more places that would love to use it – particularly as it's now so much easier to own and operate.

PRICE: Included in all new HMP-100 and HMP-200 players and a free upgrade for all existing HMP-100s.

Available in early 2011.

Spinetix: www.spinetix.com Madison Technologies: 1800 669 999 or www.madisontech.com.au

REVIEW

The main screen includes a preview of the player’s output for the remote programmer.

Bright, friendly Program screen with content available for ‘drag and drop’ addition to the presentation.

The Slide template screen facilitates the simple addition of both text and image content.

The output generated by the HMP-100 from the the Slide template above.

044

REVIEW

To Serve & Protect Not one tear has been shed at the passing of video tape.

Text:\ Paul Newton

One of the least pleasant aspects of my technical career in the early ’90s was working as a tape operator for various awards nights or complex corporate shows. The control desk was usually full of large tape decks of all different types to cater for the wide range of tapes that may played during the course of an event. A mixture of VHS, U-matic (high and low-band) and analogue Betacam players was not uncommon and there were usually two of each so you had a backup. This resulted in a rather large, noisy control area. Then you needed to find some space to sort out all the tapes. In those days, rehearsals seemed to take an eternity because of the constant need to rewind and fast-forward to the required video clip. The mechanical nature of tape players made the exercise very risky.

With so many moving parts, tape jams and operational error codes (which were curiously never clearly defined in the manual) were commonplace. Good times? Definitely not.

Then came DVD. A lot of the issues experienced with tape playback were now gone – instantly skipping to chapters, pausing indefinitely and looping were huge advances. However, errors due to fingerprints or scratches on disks and the fact that not all DVDs actually played in all players due to the different authoring and burning methods and international regions was incredibly frustrating. DVDs are also compressed to MPEG-2 which results in pretty average picture quality when displayed with high accuracy display devices such as digital projectors and high resolution LED screens. While Blu-ray and HD-DVDs were a great leap forward in terms of improved picture quality, a lot of the original problems remain.

Thankfully, due to advances in graphic card technology and faster computer processing, file-based video playback and recording is now upon us. We have finally moved beyond tapes and optical discs in the live production world. Whatever you want to call them, tapeless drives, video hard drives or media servers, are rapidly becoming the norm in the broadcast, production and events industries.

DOING IT HARD

There are two main types of media server products currently used in the live events industry, dedicated hardware devices that look similar to tape decks (3 to 4U with jog shuttle controllers on the front) and software applications that run on high-powered (usually Mac) laptops and desktops. Some are used primarily for video acquisition (recording), some for video playback and some can do both simultaneously. (Yes, recording and playing back at the same time on the same device – a seemingly terrifying concept, I know!)

The AJA Ki Pro is a recording device that replaces traditional tape recorders. The lack of tape means that there are no tape jams or loss of information when the dreaded tape change occurs. The unit has a familiar front panel interface with VTR-like buttons and display. The Ki can be directly operated via its front panel, or via Ethernet or wi-fi – which means even your iPhone can control it! [or someone else’s iPhone – Ed]. The Ki records high quality Apple ProRes 422 QuickTime files via analogue and digital inputs (SD/

HDSDI and HDMI) which means that you can connect to virtually any camera system or environment without losing quality due to the use of tape or internal compression. The media is stored onto a PC-friendly removable 250GB Firewire 800 hard drive, 34mm ExpressCard, or an optional Solid State Disk (SSD) storage module.

The unit also supports Linear Timecode (LTC). The benefits of this type of acquisition are passed down the line to the editors who can now transfer recorded content onto editing systems and start editing much more quickly, without the hassle of capturing hours or days of recorded content in real time. For around $5000, these items are a must for any video or AV company trying to move away from expensive, and somewhat limiting, tape environments.

SWINGING BOTH WAYS

DoReMi Labs and GrassValley have taken the concept a little further by providing units that can record and playback at the same time. This is incredibly handy within the live events market.

The ability to use the same unit to play back video clips while recording a camera mix, saves time, money, and control space.

Both the GrassValley and DoReMi products look like traditional tape decks but they are essentially customised PCs running a specialised operating system and media player. Both are capable of playing a wide range of video codecs, including QuickTime, Windows Media, AVI and MPEG. The DoReMi V1-UHD and GrassValley T2 are capable of uncompressed 8- or 10-bit HD/SD recording and HD/SD playback.

These devices host all the usual array of analogue and digital connections including up to eight channels of audio via XLR or embedded within the SDI signal. Both units house three hard drives: one record channel and two playback channels.

Video playback clips can either be recorded in realtime from another external device or transferred much more quickly via Ethernet or serial data connections. These clips can then be trimmed and arranged into a playlist for easy and instant playback. Frameaccurate, simultaneous playback of both hard drives means that both of these units are also ideal for 3D video content playback applications. External RS232 or timecode control is possible with both, as is front panel and software control via proprietary applications.

These devices are not cheap. You are looking at well over $20,000, and up to $40,000, depending on the configuration and options selected for both the DoReMi and GrassValley offerings. Both companies offer scaled down products that feature fewer physical hard drives (and therefore less playback/record functionality) and a higher level of video compression, if you don’t have the required budget for their best-of-breed offerings.

GOING SOFT

In the area of software solutions, a great application that is gaining a lot of popularity with AV and video companies is PVP – Professional Video Player. Developed by Renewed Vision, it was created to assist the worship industry with running video

045

REVIEW

content for church services. PVP is amazingly simple to use, very stable and packed with just enough features to ensure easy control without being overwhelmed with too many buttons on a cluttered display. PVP is only available for Macintosh and can play any video codec that the machine can natively support.

With QuickTime and Flip-4-Mac installed on a machine you can play any QuickTime mov, AVI, MPEG or WMV file.

Once a clip has been loaded into the library it be trimmed and enhanced with brightness, contrast and saturation controls.

Each clip can be looped (either back to the start or backwards) or programmed to advance to the next clip automatically, and it supports the use of still images as well as videos.

PVP retails for $699 for the standard definition version (up to 800 x 600) and $999 for the HD version (limited only by the maximum resolution available on the machine), and can be downloaded from the internet and used immediately once you have purchased a software key.

I have been using PVP quite a lot on recent corporate events without a hiccup. Client DVDs are now converted to QuickTime files within a few minutes, loaded into PVP, and triggered seamlessly for show. No more ejecting discs between sessions, no more ‘play’ symbols on screen, and no more fears of fingerprints or scratches.

There are numerous ways of ripping client DVDs into video files, such as Handbrake for the Mac, but I have been experiencing great success using the Adobe Media Encoder (part of CS5) to convert the VOB files into any QuickTime flavour from H.264 to AppleProRes formats. It’s fast and I can load them all into a queue and come back when it’s finished.

DT Videolabs has a competing product called Playback Pro Plus which is also gaining acceptance in the market. The user interface is a little more intense than PVP but this is because it offers a wider range of features, including keyboard control, the ability to save and backup playlists and shows, infinite aspect ratio adjustability with sizing, cropping and stretching and a more complex array of image adjustments than PVP. Playback Pro Plus can be purchased for $974, which includes a suite of other products such as InstaCue (an audio instant replay machine), SimpleSync (for synching multiple PlaybackPro Plus machines), RecordPro (for video recording via your Mac’s capture card or firewire port) and a very cool, customisable speaker-timer to keep your presentations running to time.

GrassValley T2 iDDR:

AJA Ki Pro

DoReMi V1-UHD

SOFT SERVE

There is another whole universe of products such as Pandoras Box, Catalyst, Maxedia, Hippotizer, Arkaos, MA Video, Watchout, Axon and OnlyView that are also media servers by definition. These are considered more specialised, creative products within the events industry and have a whole series of additional capabilities such as complex image warping/mapping and manipulation. They are rarely used primarily for simple high-quality video playback, but can be used for this purpose if required. This category of media servers are so far beyond simple replay systems that they will be covered in a later article.

Whether you are more comfortable with dedicated hardware, or prefer one of the software-based solutions, these tapeless servers are seriously transforming the way we acquire and playback video in the events industry. I also believe that videotape operators will now manage to live longer, happier lives, with less grey hair. 

Screen capture from Renewed Vision's Pro Video Player

MORE PRODUCT INFORMATION HARDWARE AJA Video Systems: Ki Pro www.aja.com/products/kipro/ki-pro/ki-pro-description.php DoReMi Labs: V1-UHD www.doremilabs.com/v1uhd.html GrassValley: T2 iDDR www.grassvalley.com/products/t2 SOFTWARE Renewed Vision: Pro Video Player www.renewedvision.com/pvp.php DT Videolabs: PlaybackPro Plus dtvideolabs.com/PlaybackPro Plus.html

HAIRSPRAY’S LED STAGE BLOW AUDIENCES AWAY THE X FACTOR VIDEO & LIGHTING STEALS SHOW $6b CASINO’S LASER & LIGHT EXTRAVAGANZA OLYMPIC PARK WINNER: WORLD-FIRST BIAMP VOCIA INSTALL FIRST EVER SPINETIX FUSION REVIEW ALSO REVIEWED: MITSUBISHI XB6100 & TASCAM DR680 LOCATION RECORDER

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048

NEWS

InfoComm News News from the Oceania Region.

ENTERPRISE EDUCATION PACKAGES (EEP) InfoComm’s new EEP program will debut in 2011. The EEP is a customised program for each company that is seeking Audio Visual Solutions Provider (AVSP) status and need to engage their staff in training prior to becoming certified.

The consultation process sets out a company plan for 12 months and includes Education and Testing for a one-time fee. The goal is for your company to attain your desired level of AVSP status. It is only available to InfoComm Members and Edubucks can be applied to pay for a portion of the EEP program fee.

VIRTUAL CLASSROOM COURSES InfoComm Academy Virtual Classroom courses are an excellent way to participate in live training courses with the convenience of doing so from your desk. Classes are delivered once a week for five weeks. Students will meet in the Virtual Classroom on the same day and time each week, and are set Assessment tasks weekly. They also have the opportunity to ask their instructor questions in the weekly Office Hours session. Communication with classmates is also possible through the class e-group. Whilst the time spent completing each course varies from student to student, most students typically spend between 30 and 40 hours during the five weeks to complete the course material.

In 2011 Virtual Classroom course will be delivered from both the USA and Australia. From Australia we will have 4 x 5 week sessions. The start dates for these sessions appear the future dates section. We currently have Essentials of AV Technology, CTS Prep and CTS-D Prep. Further classes will be introduced in the second half of 2011.

The delivery times for each class are rotated throughout the year, giving everyone an opportunity to study at a time that suits them best. For further Information in Virtual Classroom courses please visit www.infocomm.org/ education INFOCOMM ROUNDTABLE MEETINGS THROUGHOUT OCEANIA InfoComm Roundtable Meetings are a valuable way for members and guests to get together and hear about developments in the audiovisual industry. InfoComm also provides members with an Association update.

Half of each meeting is devoted members sitting around roundtables to share ideas and provide feedback to InfoComm. In conjunction with the Roundtable meeting, we have a networking hour with drinks and snacks, or if a morning meeting, breakfast is served.

The meetings are open to all InfoComm members and their guests and are intended for business owners, senior and middle managers. The dates for the next series of Roundtable Meetings are listed below. The location and time for each meeting will be announced in the InfoComm Asia-Pacific Regional Update newsletter and listed on the InfoComm Asia-Pacific website.

CALL FOR PRESENTERS – INTEGRATE IN ASSOCIATION WITH INFOCOMM INTERNATIONAL 2011 With the co-operative agreement between Integrate and InfoComm taking effect from 2011, InfoComm will be increasing our educational offerings at the show. In addition to the Super Tuesday program, the Infocomm Academy will offer 6 x 2 hour seminars and 2 x 3 hour workshops. If you would like to present on behalf of the InfoComm Academy at the 2011 show in Sydney, please go to www.infocomm.org/globalcall Submissions are required by 31st January 2011, to allow time for program development and attendee marketing.

FUTURE DATES 2011 Australia & New Zealand Round Table Meetings Auckland:17th March.

Perth: 22nd March.

Adelaide: 24th March.

Melbourne: 29th March.

Sydney: 31st March.

Canberra: 7th April.

Brisbane: 12th April.

Virtual Classroom Courses Round 1, 14th Feb – 2nd Mar, 2011 Round 2, 2nd May – 5th June, 2011 Round 3, 4th July – 7th August, 2011 Round 4, 12th Sept – 16th October, 2011 ACKNOWLEDGEMENT OF THANKS The end of 2010 also sees the end of the term for Peter Swanson, CTS as the chair of the Asia-Pacific Council. The new chair will be announced soon, InfoComm recognises Peter’s hard work as an advocate for InfoComm and thank him for his efforts with the council.

For further information on any of the above please contact Jonathan Seller, CTS, InfoComm International Regional Director at jseller@infocomm.org or look on the regional web page www.infocomm.org/asia-pacific SEASONS GREETINGS On behalf of all at InfoComm International we’d like to wish all of our members and friends in the AV industry a Merry Christmas and a happy and prosperous new year.

049

NEWS

Networking Standards The role of standards in a communication environment.

This tutorial is an excerpt from GEN106, Essentials of AV Technology Online, a comprehensive, introductory overview of science and technology for audio, visual and audiovisual systems integration. This course has more than 240 lessons and quizzes to help professionals assess their understanding of the material, and section tests to help them demonstrate understanding of essential AV technology.

Content from this course is the basis for the InfoComm-Recognised AV Technologist Test.

Learn more about this exciting new education certificate program at www.infocomm.org/ avtechnologist.

STANDARDS

You can imagine how complex is the task of setting up a large network. Network architecture and structure are, by necessity, guided by standards. Standards, in any industry, serve as a common platform for understanding and teamwork.

In the AV industry, technical standards help assure that diverse products from many different companies will work together. The same is true in network technology. However, unlike the AV industry, the networking industry has both technical and performance standards in place for all aspects of networks: physical, electrical, language and software.

Standards are developed by standard-setting bodies to establish agreed-upon rules, regulations, specifications, measurements and protocols.

Many of the standards set for networks are established by the Institute of Electrical and Electronics Engineers (IEEE). As the globally recognised LAN (Local Area Network) authority, the IEEE 802 committee has established the standards that have driven the LAN industry for the past two decades.

Other standards groups which are important to the AV and IT industries include the International Organisation for Standards (ISO) and the International Electrotechnical Commission (IEC). In 2009 InfoComm International became an American National Standards Institute (ANSI) Accredited Standards Developer to bring performance standards to the AV industry.

The first AV performance standard, ANSI/ InfoComm 1M-2009 Audio Coverage Uniformity in Enclosed Listener Areas, was approved in 2009. Many more will follow.

Now that you understand the role of

standards in establishing common vocabulary and rules, you can be fairly certain that much of the networking information which follows is guided by some standard or best practice.

OSI REFERENCE MODEL

No matter what kind of connection you are using for your network the framework which enables communication between devices must be standards compliant. You must also have a common language to describe the process. The Open Systems Interconnection (OSI) Reference Model provides the process. This is not a method of communication, only a reference mode.

OSI was developed by ISO to standardise communication between devices. OSI is an international standard. It has to be – otherwise, how would intercommunication like the internet work?

The model separates communication connectivity into seven layers. The layers are organised so each one has a specific duty. This allows for a variety of connection types and development of specific hardware and software to optimise networks. The layers are processed in a specific, sequential manner.

This graphic shows the seven layers. As information is sent out each layer adds additional information to keep track of the file or stream as it passes through the layers. This system allows individual packets of data to be tracked and recombined at the receiving end to recover the file or stream.

Information starts at the upper most layers (Layers 7, 6, 5…) and continues to the lower layers. When an application sends a file or stream, the data moves down the layers until it reaches the network medium at the Physical Layer (Layer 1).

As the data is processed by protocols at each layer it is packeted into cells or frames of data.

Further down, at Layer 3, information is added

to the packet which is used to determine its destination. Control information, which provides for error checking, is also added. The final data frame (e.g. for Ethernet) is put on the network medium by the Physical Layer, Layer 1.

Large files, or streams, from the upper layers are broken down into smaller chunks of information, called packets, in the Transport Layer. These smaller packets are sent across the network.

OSI & AV

Here is a brief summary of what happens in each layer. How the layer relates to AV is described in italics. You will want to pay particular attention to Layer 7 and Layer 1.

Layer 1: Physical Layer Defines the relationship between the device and a physical means (such as a cable) of sending data over network devices Defines optical, electrical and mechanical characteristics AV/IT: Cabling and other connection mediums like patchbays, etc.

Layer 2: Data Link Layer Defines procedures for operating the communication links Frames packets Detects and corrects packet transmission errors AV/IT: Ethernet standard, unique hardware addresses Layer 3: Network Layer Determines how data is transferred between network devices Routes packets according to unique network device addresses Provides flow and congestion control to prevent network resource depletion AV/IT: Internet Protocol (IP) Layer 4: Transport Layer Provides reliable and sequential packet delivery through error recovery and flow control mechanisms Provides connectionless oriented packet delivery AV/IT: Transfer of data Layer 5: Session Layer Manages user sessions and dialogues Controls establishment and termination of logic links between users Reports upper layer errors AV/IT: First upper layer concerns the data itself, ensures data is passing properly Layer 6: Presentation Layer Masks the differences of data formats between dissimilar systems so they can “talk” Specifies architecture-independent data transfer format Encodes and decodes data; encrypts and decrypts data; compresses and decompresses data AV/IT: Unpackages the data for use Layer 7: Application Layer Defines interface to user processes for communication and data transfer over the network Provides standardised services such as file and job transfer, and operations AV/IT: Presents data to the application software for use 

050

Termination Bribery & corruption: a novel solution.

Text:\ Graeme Hague

When I’m not working for these guys, I dabble in writing novels. If you dig hard enough, you might find a few dusty copies in secondhand bookstores or in those ‘10 Books for Two Bucks’ discount bins in K-Mart. But would I say my profession was ‘writer’? Well, in this day and age of multi-tasking and jack-of-all-trading, it’s not something I think about. Until, that is, you’re facing a customs official. Once when I was tackling one of those Entry Visa/Arrivals Card thingies you receive as you land in a foreign country, after a moment of head-scratching, I put ‘Writer’ as my occupation. Unfortunately the country was Zimbabwe and the authorities interpreted ‘Writer’ as ‘Journalist’, and Bob Mugabe isn’t a fan of foreign journos… or local ones for that matter. While everybody else was being welcomed in, I was in the naughty queue having my passport scrutinised and stamped very differently indeed. Things looked scary and I seriously considered slipping a banknote into the negotiations to see if the nightmare would magically go away. Trouble is, you never know when you might strike the one-in-million ‘honest cop’. Finally, they got bored of my terrified squeaking and let me go. Three days later a friend arrived and under ‘Previous Convictions’ he admitted to a 15-year-old speeding fine (he’s a solicitor – couldn’t help himself). He emerged from the Suspect Queue after two long hours and only after wafting US$200 under the right nose.

BRIBERY: TIP OF THE ICEBERG

Corruption and bribery is an integral part of the system in many developing countries. The practice of putting a sweetener in someone’s lunchbox to get a job done sooner, better and faster is as normal as flipping a few bucks to the bellhop outside a New York hotel. It’s a fact of life, not a crime wave.

A large number of international companies and organisations have become mired in a thick mud of Indian over-bureaucracy, incompetence and apathy during their attempts to retrieve equipment from the continent and money from the Indian government following the Commonwealth Games. But you could ask – didn’t they see this coming? It’s only been around oh… a couple of hundred years. What did they expect? Things to be done properly – like here?

Hmm… Oddly, the problem now, it seems, is a lack of corruption. Corruption is the grease that makes

“a six-pack for a customs form to be signed off. How about a slab for inspecting a sea container?”

the cogs of Indian commerce go round and as a system it worked perfectly well – albeit in an Indian kind of way where nothing was ever really done, but hey, it got the Taj Mahal built without too many stop-work meetings. Then the Commonwealth Games gave a lot of countries the opportunity to stick their westernised, civilised foot in the door and start bleating about the level of corruption in India and demanding something be done – which they did.

And now the whole country’s ground to a halt.

So what do I mean about a lack of bribery being the problem? Well, a lot of petty officials

and minor bureaucrats have stopped processing an impossible tangle of paperwork – and they’re the only ones who can process it – because they’re scared that getting anything achieved is tantamount to admitting to being corrupt and they’ll get fired. In other words, just getting things done is proof you’re a bit dodgy.

In Australia we’re expert at being a bit dodgy and I’ve come up with a solution. (Be warned, it’s going to take an upsetting amount of beer.)

BEER OILS WHEELS

We’ve built our entire country on a currency of slabs of beer to get things done quickly. Slip a bloke a few dozen crownies and insurmountable problems will go away. What we need to do is export this kind of system into India, because we all agree that no amount of bribery and corruption involving alcohol is actually bribery or corruption. It’s just a ‘mates’ thing. Therefore all those nervous bureaucrats in New Delhi will breathe easy knowing their jobs are safe.

First you’d have to ship cartons and cartons of coldies across to Indian and then establish a rate of exchange. Perhaps a six-pack for a customs form to be signed off. How about a slab for inspecting a sea container? Two slabs for moving the filthy roadies through quarantine – ignore those nastylooking lesions. It’s guaranteed that before long the dockyard stockpiles will start to move again.

Freight will begin to flow. Technically speaking, stuff will happen and nobody will openly admit why. It just does.

UPPING THE ANTE

If something does prove to be non-negotiable – if the risks are too great, the issue too complex to budge those bureaucrats out of the office – somebody can always make the big move and offer the cream on top. The real deal.

Of course, I’m talking about tickets to the footy.

And not just any tickets; good ones – none of this top tier of the Great Southern Stand rubbish to watch Port Adelaide play bloody Richmond.

Even finals tickets. What bribery-starved government official could resist that?

As for getting money out of the Indian government, that’s a little trickier. There are only so many Mick Gattos to go around. But here’s an idea – send Robert Mugabe over to give them a bit of a talking-to. He’s good at ripping money out of people. 

Use your existing ethernet network for audio solutions Bi-Amp DSP with Cobranet

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Bosch NetMax N8000 Centralised digital signal processor Ethernet switch

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ION 2.0 Radio mic Ethernet switch

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Presenter computer Plena mixer

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ION 4.4 Loudspeakers

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Conference room 1

Conference room 2

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