AV Issue 15

l siona rofe s ual p i ov i s e a ud fo r t h

NOW & WHEN Taking 3D to the World

ACMI SCREEN WORLDS: A MOVING STORY OF AV THE ELECTRIC CANVAS: DEBUNKING THE PLUG ‘N’ PLAY MYTH BLEND ME SHAPE ME: MEDIA SERVERS EXAMINED issue #15 2011

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Proud partner of the Australian Centre for the Moving Image

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Editorial Speaking fluent marketing In common with a few of our readers, at heart I’m a tech-head/nerd/anorak (or whatever pejorative name you have for those of us who get the technology that baffles most). I’m much more comfortable with a reference manual, a circuit diagram, a floor plan, a spec sheet or a room full of hardware, than I am dealing with people who don’t feel the same way. However, if you’re even halfway decent at doing technology, you always wind up somewhere in management, looking after other tech types and dealing with the rest of the world on their behalf.

It seems that I can also explain tech stuff to other people in words they can understand.

So I’ve spent a fair bit of my life teaching technology, writing about it, and generally acting as an intermediary between the worlds of the technologists and the end users (for want of a better term). This has led to me spending a fair bit of time with technology’s fiercest advocates: the marketing people.

While they rarely have a clue what it is we actually do or make, they are the most important people in the world, because they sell our products and services to the market – the people who otherwise wouldn’t even know about our work.

In their haste to get technology products into the hands of the end users, marketing people sometimes get a little too enthusiastic and use words that sound impressive without necessarily understanding their meaning.

There are of course all those nonsense words that are fabricated to make a product sound

impressive – shampoo and anti-ageing cosmetics depend heavily on such ingredients – but I’m more concerned with real words that have (or used to have) very specific meanings.

The term ‘High Definition’ is an excellent recent example of this problem. Rather than baffle the punters with the actual capabilities of the new flat-screen televisions, marketing departments began applying the label ‘High Definition’ to anything that had a line or two more resolution than my grandmother’s original 17-inch Philips TV (bought to watch the Melbourne Olympics in 1956). Some of these TVs were, 720 x 676, some were 1280 x 720, and others were 1366 x 768, but they are all enthusiastically and indiscriminately marketed as HD. Of course when 1920 x 1080 panels (that actually met the HD standard) became readily available there was a bit of a marketing problem. How do you explain that these ones really are HD when you’ve already been selling something else with that label for some years, and all the different versions of ‘HD’ are still rolling off the production lines in their millions?

And now it’s happened again, as of course we knew it must. This time it’s LED panels. I became very confused when I was first offered a 26-inch LED monitor. I thought that I had somehow slept through a major screen fabrication breakthrough. Sure I’ve seen those astounding prototype OLED panels that were being secretly shown under the counter at trade shows (and clearly I didn’t

sign the NDA), but here it was in my email.

All my local on-line equipment suppliers were offering to sell me full-size LED panels for a lot more than their usual LCD models. It took some research to discover that it was only LED backlighting on an otherwise-standard LCD panel that had been mislabelled by marketing people in a hurry to find a way to sell the improved (but not revolutionary) monitors. The problem was that the marketing material was so confusing and imprecise that I couldn’t even work out if the panels ran on electricity or steam.

Now Leyard, the Chinese LED company that came to the world’s attention on 08/08/08 with its vast LED screen on the arena floor for the opening ceremony of the Beijing Olympics, has produced 2.5mm and 3.125mm pitch LED panels in TV sizes and HD resolution. And the cheeky buggers are marketing them as ‘Real’ LED TVs, which is both confusing and completely accurate.

So brew-up a fresh cup of your favourite beverage, then sit back, relax and enjoy the next episode in our reality drama, as the marketing people try to sort this mess out.

It’s probably too late now, but sooner or later somebody in marketing is going to have to find out what backlighting is. Andy Ciddor, Editor Join the AV adventure. Dob in a friend. Drop a note to the editor Andy Ciddor andy@ av.net.au and tell him about your discoveries.

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

Subscribe now: www.av.net.au

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.

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

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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.

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

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+65.6383.4400

Crew Lucie is a fresh-faced young journalist, soon to leave all this wild weather for the grey streets of Berlin. She recently spent a year editing Vertigo magazine at the University of Technology in Sydney and her name can usually be seen in the pages of AV's beloved sibling, Venue.

For this issue, her debut with AV, she reported on the recent floods up north.

Cover: Terra Form Australis by HASSELL, Holopoint and The Environment Institute – Image by FloodSlicer 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) Publication Manager: Stewart Woodhill (stewart@av.net.au) Editorial Director: Christopher Holder (chris@av.net.au)

Paul is technical producer/director and co-owner at The Events Activation Resource (The EAR), a company specialising in large scale corporate and entertainment technical event management, and has worked in video projection and multimedia since 1992. He has been involved in video production management for events in the corporate, broadcast, exhibition, fashion and entertainment industries, and has toured extensively.

He has expert knowledge of multimedia, content creation and complex live video systems.

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 © 2011 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. 27/1/11

Tim Stackpool is a broadcast technical director, most recently completing the design and construction of a threestudio TV facility for IP Studios in Sydney. After spending 10 years at Channel Nine, Tim founded and remains co-owner of production company Sonic Sight. Tim also supplements the [lavish – Ed] income he receives from AV Magazine by assuming the role of Australian correspondent for Global Radio News in London and the Canadian Economic Press.

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

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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

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Issue 15 REGULARS NEWS News and the latest new product information

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INFOCOMM NEWS Regional news from InfoComm

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TERMINATION Even better than the real thing?

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FEATURES

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NOW SCREENING ACMI’s Screen Worlds exhibition.

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NOW AND WHEN An innovative 3D projection installation wows the luvvies at the Venice Biennale.

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INUNDATION How Queensland’s audiovisual sector is coping with the worst floods in decades.

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BIG CANVAS Event projection specialists The Electric Canvas talk about some big projects.

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REVIEWS

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ACOUSTIC TECHNOLOGIES MK100A Compact self-powered installation loudspeaker

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REDMINE AV project management and support with online tools.

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TUTORIALS BLEND ME SHAPE ME Media servers that do much more than serve and project.

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MEASURING LIGHT Measuring visible light.

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NEWS

AV NEWSWIRE LAUNCHES

JBL: MORE CONTROL

SANYO HOT SWAP

Newswire, AV’s e-newsletter, launched late December, plumper than a Christmas turkey, stuffed with news and info pertinent to the Australian AV professional.

From here on in, Newswire will be regularly popping into your inbox bringing with it exclusive news on significant jobs in progress around the country, along with training information, job opportunities, and product information. Newswire is sure to provide plenty of watercooler moments, barbecue stoppers, scoops, tell-all exposés… and it’s easy to get involved.

Downloadable forms allow you to simply and quickly submit your news.

If you want the industry to know about your news, contact Andy Ciddor on (andy@av.net.au).

Newswire: it’s Australia’s best and only virtual lunchroom noticeboard.

If you missed out on your first dose of Newswire, you can subscribe by clicking on the link on the front page of AV's web site: www.av.net.au

JBL has recently added two new products to the Control Contractor range, the Control 50S/T and Control 52. The Control 50S/T is a surface mounted single 8-inch subwoofer and the Control 52 is a surface mounted 2.5-inch satellite speaker. These are the first sub/satellite systems JBL has introduced in quite some time and it claims that no screwdrivers are required for installation. The subwoofer is unpowered and simply mounts onto the included wall bracket. The subwoofer operates in mono with a loop through and has a multi-tap transformer plus an onboard crossover set to suit either 2 or 4 Control 52’s. Transformer tap is adjustable on the input cup by... ah, a screwdriver.

Never mind. These units are available in black or white individually in the case of the subwoofer, in pairs for the satellites and also as a contractor pack which includes one Control 52S/T and four Control 52s. No matter which you need, all come with sufficient wall mounts and connectors in the box.

Jands (02) 9582 0909 or info@jands.com.au

Sanyo has released a new professional projector, the PLC-HF15000L with native 2K (2048 x 1080) resolution and 15,000 ANSI Lumens. The PLC-HF15000L’s high brightness, high resolution optical engine is designed to provide accurate projection of detailed images in challenging environments such as smoke-filled stages in large venues, e-cinemas and simulators. Sanyo’s Integrated QuaDrive technology offers increased colour purity and reproduction with greater image brightness. The PLC-HF15000L is equipped with a ‘Hot Swap’ system that allows individual lamps to be replaced in the event that one of the four 380W lamps fails; the system automatically switches over to the functioning lamps allowing presentations to continue without interruption. Eleven optional lenses including wide angle, standard and tele-zoom lenses enable a wide range of image sizes from various distances.

When multiple projectors are required the Constant Brightness Output Control in the PLC-HF15000L corrects deviations in brightness among the projectors and edge blending reduces visible borders.

You might want them to reduce the price tag too–the PLC-HF15000L comes in at $59,999 RRP. Hey, there’s no harm is asking.

Sanyo: 1300 360 230 or info@sanyo.com.au

NEWS IN BRIEF:

NewTek has released version 10 of its LightWave 3D software.

With LightWave 10, artists have the ability to interact directly in the viewport and see changes to lights, textures, volumetrics and more, plus view updates to their stereoscopic work in real-time and deliver realistic environment walkthroughs. Data interchange tools enhance pipeline integration with an improved user interface.

New Magic Australia: (03) 9722 9700 or www.newmagic.com.au

Tannoy and Lab.gruppen were exhibiting alongside each other at the Integrated Systems Europe 2011 exhibition in Amsterdam, with plans to unveil a major new product range involving both of the their respective professional audio brands. This included examples of the self-powered variant VXP Series that incorporate newly developed integrated Lab. gruppen amplification. www.tannoy.com www.labgruppen.com

A company known for its foggers and hazers, Antari has entered the special effects fan market with the introduction of the Antari AF-5.

With onboard wireless control and DMX, the AF-5 is designed for the touring, club, theatrical and house of worship markets. Three different fan speeds on the AF-5 gives designers tight control over the level of wind they introduce to a stage, dance floor or any other setting.

Industry Gear: (02) 9718 4900 or ken@lswonline.com.au

Sold! To the chap at the back of the room with a cheque for $289m. Australian global education services provider Navitas has acquired 100% of SAE Group (School of Audio Engineering). The deal with Navitas is expected to add a high demand and complementary new range of educational options to Navitas’ current offerings, plus increase its ratio of domestic students compared to international students.

Navitas Limited: (08) 9314 9617 or www.navitas.com

Made by Da Lite the MM5C-39FS is a metal Video Conferencing Cart that features two shelves and a pull-out keyboard shelf.

The locking cabinet includes rack rails and a six-outlet power strip.

It comes standard with heavy duty casters and a black powdercoated finish. The monitor mount accommodates up to a 50-inch monitor, provides 5° of backward tilt, 15° of forward tilt and supports 45kg. A camera shelf is also included.

Wilson & Gilkes: (02) 9914 0900 or sales@gilkon.com.au

AKG

DMS 700

The new DMS 700 is a revolutionary digital wireless solution designed for the future: The First Professional Digital Wireless System BARCO’s BEZEL SHRINKAGE At the recent at Integrated Systems Europe show in Holland, Barco released a new series of display panels for control room applications. The new displays feature LCD technology with LED backlighting to produce brighter images and a wider colour gamut, while providing a space-saving design. They combine the benefits of liquid crystal technology (such as low maintenance costs), with energy-efficient LED backlights, resulting in a highly reliable and ecofriendly LCD display. Because the LED backlights produce less heat than traditional CCFL lamps, the new displays reduce image burn-in and have a longer operational life, and as LED backlights do not emit IR radiation which induces coloration in the LCD filters and polarizers.

The new NSL-5521, a 55-inch full HD display for video wall applications, uses durable RGB LED lights positioned directly behind the LCD panel and has the narrowest bezel on the market (5.6 mm pixel-topixel on adjacent displays), resulting in excellent tiled visual performance. The NSL-5521 features a 3000:1 contrast ratio, full HD resolution and a maximum brightness level of 700 cd/sq m. Barco recommends these displays for long-term applications.

Barco Systems 03 9646 5833 or www.barco.com

The Gefen ToolBox USB 2.0 4-Port Extender (Black Edition) extends a USB source up to 100m using a single Cat5 cable. This product supports USB 2.0 with data rates up to 480Mbps in addition to backward compatibility with USB 1.1. The remote Receiver Unit allows the connections of up to four USB devices.

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

Heaps of modern projectors will blend adjacent images on their own, but you never know when you might find yourself with a pair of incompatible units. Analog Way’s Smart Edge is an edge blending system with universal analogue and digital I/O and full high-resolution digital processing. Smart Edge allows you to create wide blended screens either horizontally or vertically.

Axis Audio Visual 03 9752 2955 or gerry@axisav.com.au

• Up to 150MHz tuning range • 256 bit RC4 signal encryption for secure audio transmission • 2-channel digital true-diversity receiver • No Compander (used in analogue systems): higher sound quality • On-board DSP per channel (Compressor, EQ, Limiter) • Quick setup via infrared data link to the transmitter • Graphical spectrum analyser helps find clear channels • Remote monitoring and control via PC

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NEWS

Vi’ING FOR ATTENTION

MIND THE GAP

AUDIX’S GOOSE STEP

The much-lauded Vistonics interface of Soundcraft’s Vi Series has found its way into the most affordable package yet, the Vi1 – a complete standalone console package with 32 channels of analogue input to 27 analogue outputs, plus six digital inputs, four stereo FX returns and six digital outputs in one chassis. As standard, input to mix capacity is 46 channels, but by adding a stagebox (compatible with the existing Vi racks), simultaneous channel count increases to 64. Channels are routable to 24 multifunction buses, plus L/R and mono mix buses. Up to eight of the buses can be configured as matrix mixes, each with up to 16 sources. The surface is just over a metre wide, and includes 16 motorised channel faders with fixed and user-definable layers, eight output/VCA faders and two master faders. The Vi1’s Vistonics interface displays all parameters for 16 channels side by side, on a single 22-inch touch screen. The upper half of the screen handles the output section control as well as cue list or menu displays. Parameter control is via two rows of 16 rotary encoders. The Vi1 inherits many of the facilities of its larger siblings, including Soundcraft FaderGlow, four stereo Lexicon effects engines, BSS Audio graphic EQs on all output buses, and integral dynamics on all channels. Pricing starts at $49,445.

Jands: (02) 9582 0909 or info@jands.com.au

Most people can’t stop themselves. When they’re confronted with a ticketing window or maybe a bank teller where a security pane is in place, they just have to look silly and bend over to speak through the gap. We’re guessing the Magellan Compact Counter Intercom from Ateis won’t make a scrap of difference to these folk’s compulsive behaviour, but for the rest of us the Magellan Compact enables high quality full duplex speech between counter staff and the public when any kind of security barrier is in place. The system works automatically, remaining on standby until someone at either side starts talking. There is no need to press any button unless an increase in volume is required. The counter clerk uses a desktop unit which houses a loudspeaker and is fitted with a gooseneck microphone. On the public side is a client’s microphone and loudspeaker both of which can be mounted on glass, the window frame or anywhere appropriate. The system comes with an induction strip for the hard-of-hearing.

Hills SVL: (02) 96471411 or nsw@hillssvl.com.au

Audix’s ADX12 and ADX18 are professional miniature gooseneck condenser microphones with modular capsule components. Designed for applications such as podium, presentation, meetings and teleconferencing, the ADX12/18 are known for their clarity and sound quality, along with the ability to accurately capture and reproduce vocals from a comfortable distance. With a wide frequency range of 40–18kHz, the ADX12/18 provide a smooth and natural vocal response, particularly optimised for speech. The ADX series gooseneck system features a gold plated circuit board with a sophisticated preamp circuitry that ensures the audio path will be free from hum and noise. Additionally, the circuitry employs immunity protection from RF from mobile phones and other GSM devices. The ADX 12/18 are available in both cardioid and hypercardioid polar patterns.

Other features include machined aluminium and brass capsule housings, copper tubing integrated with wound flexible steel for secure and exact placement, field replaceable capsules, replaceable electronics, and a variety of optional stands and mounting accessories. Provided with a table flange mount for permanent installation, the ADX12/18 require phantom power of 9–52 Volts and are available in a non-reflective black matte finish.

Production Audio: (03) 9264 8000 or info@productionaudio.com.au

NEWS IN BRIEF:

With a wide range of high performance ‘tiling’ lenses available the RPMSP-D180U 1-chip SXGA+DLP rear screen tiling projector from Christie is suited to retrofit older rear screen systems and structures previously supplied by Christie – or by other manufacturers. Added automatic features ensure consistent colour and brightness uniformity across the entire wall ensuring automatic recalibration after any type of service adjustment.

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

The KIT-HD1 is the Atlona Custom Installation Testing Kit which includes a HDMI Signal Generator, seven-inch HDMI monitor and a Pelican case. This tool suite allows residential and commercial integrators and installers the ability to diagnose 99% of all digital connectivity issues quickly saving both time and overheads.

We’ll just assume the other 1% will also be diagnosed – eventually.

Avico Electronics: (02) 9624 7977 or www.avico.com.au

Crestron’s HD-EXT extends HDMI signals over a single low-cost shielded twisted pair (STP) wire. Uncompressed highdefinition audio/video signals are transmitted up to 100m without loss of signal quality using DM 8G wire. With no special setup or configuration required, installation is easy and inexpensive.

Crestron: (02) 9737 8203 or www.crestron.com.au

Shure’s PSM1000 Dual Channel Personal Monitor System is a professional monitoring system designed to integrate with Shure’s Wireless Workbench (WWB) software – providing engineers and performers with options for increased control and connectivity.

The PSM1000 offers top-notch audio and RF performance, networking connectivity and a true diversity-equipped low profile bodypack receiver.

Jands: (02) 9582 0909 or info@jands.com.au

SBS Television has deployed 11 new Panasonic AJ-HPX2100 P2 HD Camcorders as well as three AJ-HPM200 P2 HD Mobile and three AG-HPG20 P2 Portable tools across its news operations in Sydney, Canberra and Melbourne.

SBS joins over 950 television networks worldwide that have adopted the P2 format. P2’s solid-state design–from camera to media with no moving parts – has become integral in most television network format decisions.

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

GATE CHANGES? NO PROBLEM.

BRAVO PRIMERA! This sounds crazy I know, but there are legitimate applications for small disc-duplicating machines other than churning out pirate copies of the latest hilarious Hollywood romantic comedy. And despite the fact that broadband is getting ever broader, the devices are still used for reliably distributing data by a wide variety of organisations including corporate marketing, training and engineering departments, schools and universities, recording and video production studios... the list goes on and they’re all legal. Primera Technology Inc has released its Bravo 4100-series Disc Publishers range. Bravo 4100-Series is the fastest in its class when it comes to printing.

Full-colour, 100% coverage discs with near-perfect print quality are printed in just six seconds each using direct-to-disc printing and fast robotics. Up to 100 discs can be loaded for fully automated printing. The series comes in three models with a print-only type, a one disc burner model and dual-burner machine. Bluray burning is possible at 12X speeds. Individual CMYK ink cartridges are in all and systems are compatible with both Windows and Mac OS. Primera Asia Pacific: (03) 8586 3030 or sales@primera-ap.com

Auralex Acoustics has introduced the new SonoLite fabric-wrapped StudiofoamPro panels. These panels will be available at a price that specifically targets those on limited budgets. SonoLite is a 600mm x 600mm x 25mm fabric-wrapped StudiofoamPro panel available in black or beige and with squared edges that provides an overall Noise Co-efficient Rating (NRC) of 0.75. Rock on, dudes... quietly.

Major Music Wholesale: (02) 9525 2088 or www.majormusic.com.au

The Gilderfluke USB-to-DMX512, as the name suggests, is a galvanically isolated, Open USB to DMX512 converter. Built inside a standard Neutrik five-pin female XLR connector, the converter supports one 512 channel universe in or out. More units can be used for additional universes. The USBto-DMX512 is compatible with all software packages that support the Open USB to DMX512 interface and should be compatible with many RDM applications.

Great Leap Forward: (03) 9016 9277 or www.greatleapforward.co.nz

Vocia ®, the new critical paging system from Biamp®, was designed to do more than deliver clear information. It was designed to last. Its fail-safe, networked structure easily expands into new zones and new buildings. In fact, it was built from the ground up to meet EN54-16 standards, providing the reliability and scalability you need today and in the future.

FOR YOUR NEAREST DEALER: Australia: Call 1300 13 44 00 or visit www.biamp.com.au New Zealand: Call 0800 111 450 or visit www.audioproducts.co.nz

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NEWS

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1/NEC BARGAIN BIN

2/ CURTAINS FOR HME

3/REALITY LED TV

NEC’s M Series projectors were developed to address the needs of schools and offices on a ‘tight’ budget. The NEC M Series are value-driven, ecofriendly portable projectors that deliver bright images and feature wired and wireless (optional) networking, HDMI and USB inputs, high contrast (2000:1) and up to 6000 hours of lamp life (in ECO Mode). The M Series have a carbon savings meter, energy-saving features such as Power Save, quick start-up and direct power off. The projectors also offer extended lamp and filter life with a brightness of up to 3500 lumens. All types have XGA native resolution except for the M300WG model, which is WXGA. Pricing starts from a miserly $880.

NEC Australia: 131 632 or www.nec.com.au

Sad but true, many a flagging theatrical performer’s ego has been saved from the depressing sight of an auditorium full of vacant seats by a half-house curtain.

It’s always handy to hit the curtain button before they arrive and innocently say, “Yeah, it’s nearly a full house” when they anxiously ask about ticket sales. Harris Movement Technology has a new curtain motor that will hide the bad news very quickly – or not – with a variable speed control. Only a standard, single phase 10A power outlet is needed and the EDH50 motor can be RCD protected. Wire rope size is 4mm and maximum operable length is 11.5m (which gives you 22m with a French action drape with 1000mm overlap). Open and close limits are accurate to within a 10mm margin. By default the Open, Stop and Close controls are latching – you can hit the button and walk away – but momentary buttons can be provided on request.

Harris Movement Engineering: (02) 9708 6614 or sales@harrismovement.com.au

As most readers will be aware (and those who don’t can just nod and pretend they did), ‘LED TVs’ don’t actually use LED to display the image at all, but simply use LED as an energy-efficient way to back-light an LCD panel. Meet Leyard, the Chinese LED company that provided the stadium-sized LED floor for the opening of the Beijing Olympics. Leyard has announced it’s released the world’s first ever ‘real’ LED TV with 3.125mm and 2.5mm physical pitch. Leyard’s real LED TV uses LEDs as the light source and since each and every pixel on the LED TV is a selfluminous body, vivid colours and sharp images are visible from any angle. As a bonus, the concept consumes 70% less energy than standard LCD TV sets and offers ‘super silent’ operation–until you turn the volume up.

Leyard: www.leyard.com

4/ iPAD TELEPROMPTER

5/ LEDS, CAMERA, ACTION…

6/ SMOOTH TOUCH

If you’re one of those people quite content to allow Steve Jobs and Apple achieve complete world domination, here’s another reason to dash out and buy an iPad. Mirror Image’s IP10 Teleprompter Ready is a kit designed to allow operators to use an iPad as the monitor on teleprompters. The iPad prompter kit includes a fully adjustable camera and tripod mount (actually the same piece of gear as used in all of Mirror Images portable teleprompters, so perhaps if you already own one...). Mirror Image also uses a wideangle trapezoid beamsplitter mirror that adds greater visibility for your HD camera. With the iPad, this is easily readable to four metres and certainly portable (less than 4.5kg). If you need prompting software – surprise, surprise – iTunes has several apps to choose from and some will use your iPhone to control the script speed. Or you could just get the talent to learn their lines... no, that’d be plain silly.

Protel Australia 1300 472 344 or info@protel.co.nz

As you can see, Litepanels’ Sola ENG LED Fresnel model is a nifty camera-mount light that offers beam angles between 10° and 70°. The new daylight-balanced Solas provide the control and single-shadow properties of a Fresnel light, but utilise just a fraction of the power of conventional fixtures. It draws just 30W yet produces light output equivalent to a 250W tungsten fixture.

Instant dimming from 100% to zero output can be achieved with no noticeable colour shift. The Sola ENG also has manual focus and dimming control via camera lens-style controls. Output is flicker-free and remains consistent, even as the battery voltage drops. Of course, the Sola ENG doesn’t have to be camera-mounted.

Weighing in at 280g, with a bit of gaffer tape you can no doubt get quite creative about light placement! The Sola ENG runs on any 10-20VDC sources such as camera batteries or can be powered via an AC power adapter.

Lemac Film and Digital: (03) 9429 8588 or lemac@lemac.com.au

MultiTouch has released MultiTaction, a new platform for large-scale multitouch LCD displays, which will enable display developers to create multi-user, multitouch displays for screens ranging from 800mm to 2540mm and beyond. MultiTaction’s optical multitouch sensor technology can be incorporated easily into integrated circuit boards, creating a modular camera system that can scale high-resolution displays to Quad HD/4K – both scalable and stackable. Frame rates of more than 200 fps can be achieved for smooth appearance. The MultiTaction platform eliminates sensitivity to external lighting, such as sunlight and spotlights surrounding the touchpanels, by using hybrid reflection/shadow tracking technology. It combines a number of in-device features including Computer Vision Through Screen, Integrated Backlight Emitter Camera modules, Matrix Tracking, an Extensible Hybrid Tracking Engine and Multi-Format Tracking Output.

Lightwell: (02) 9319 0311 or www.lightwell.com.au

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NEWS

Cyc Lighting that is Practically Perfect in Every Way The metre-square tiles that lie behind the cyclorama screen each carry a 4 x 4 matrix of individually-controlled, 16-bit RGB LED pixels, enabling each point behind the cyc to be controlled at a finer resolution than the main stage lighting (a frugal 96 DMX512 channels per sqm).

Photo: Richard Pacholski

When Lighting Designer Howard Harrison started working on the UK touring production of Mary Poppins, he was faced with an issue: many of the venues the show would be touring to wouldn’t have the required space to achieve the detailed cyclorama and cloth lighting that the show demanded. In many cases, only 250mm of space was available, which ruled out using more traditional cyclighting techniques.

Howard’s design team drew his attention to the EvenLED cyclorama lighting system which was available from major UK hire company, White Light. Originally developed by Brother, Brother & Son in Denmark, the EvenLED system was initially distributed by MA Lighting, but has recently become a Martin Professional product. The system consists of a rear projection screen, lit from behind by metre-square tiles, each bearing a 4 x 4 array of independently-controlled 6W RGB LED modules.

When the production hit Melbourne, Lighting Assistant Richard Pacholski (R2) used the exact same lighting specification as the UK production. The rig, which was supplied by Chameleon Touring Systems of Sydney, included a 13m wide x 7m high EvenLED system sub-hired from White Light. Pacholski was very happy to have the opportunity to use EvenLED. “It’s light weight. For Mary Poppins we need to fly out the cyclorama and the EvenLED for several scene

changes. As the flying speed of these items is approximately two metres per second, weight is a big issue.”

Controlled by DMX512, the EvenLEDs feature a selfaddressing system. In the case of Mary Poppins, they run at full resolution (3 x 16-bit parameters, i.e. six channels, per pixel) occupying a staggering 13,000 channels over 26 DMX universes. The EvenLED is controlled by the main grandMA console, with seven NSPs (Network Signal Processors) dedicated to the cyclorama alone. This gives maximum control for colour swirls or wipes, vertically or horizontally.

Despite its tendency to chew up control channels, Richard notes that the LED technology allows for substantial power saving benefits. “We run a 10 Amp power cable to each column for trouble shooting purposes but nowhere near that current is required. If you compare the EvenLED wall to using a conventional system for lighting a cyclorama; the (power) savings are huge.” [Yeah, but the old system used just four DMX channels for the whole cyc – Ed.] Mary Poppins, produced by Disney Theatrical and Cameron Mackintosh, is currently playing at Her Majesty’s Theatre in Melbourne. – Matt Caton Martin Professional: www.martin.com Chameleon Touring Systems: www.chameleon-touring.com.au

Photo: Deen van Meer

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020

FEATURE

AV: A Moving Story Screen Worlds at ACMI introduces our world to the world.

Text:/ Andy Ciddor Images:/ Courtesy of ACMI

Screen Worlds is a world of screens; more that 220 of them, describing, replaying, navigating, interacting and simply displaying the story of screen culture and its impact on our lives. Produced, designed, engineered, programmed and installed in-house, more than 30 hours of vision was curated, written, designed, researched and edited by the ACMI team for this exhibition.

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FEATURE

Let’s face it; no one comes into the world of AV because it’s a highly-respected profession or because they wanted to follow in the footsteps of some famous audiovisual hero. Most of us got sucked in by something we saw or did that made us think that it might be something interesting or even fun to do everyday and maybe even make a living out of. The Australian Centre for the Moving Image (ACMI), housed in Melbourne’s Federation Square complex is one of the few places in the country where the public is given some insight into the audiovisual world that they’re immersed in.

Starting out in 1946 as the Victorian State Film Centre, it was a resource repository for films, slides, film strips and eventually also audio and video tapes. As ACMI since 2002, it has reinvented itself as a national focus for screening and advocacy, screen education, industry engagement and audience involvement for the moving image (film, television and digital culture). Its programs of screenings, film festivals and exhibitions have striven to give audiences an insight into the culture and technology of their audiovisual environment.

Throughout these changes ACMI has expanded its collection of audiovisual material and through its collaboration with the National Film and Sound Archive, now provides access to one of the country’s most extensive and readily-available collections through the Australian Mediatheque facility. Here you can peruse or study everything from the earliest moving images shot in Australia and most feature films ever made here, all the way through to an extensive collection of international classics and on to contemporary cutting-edge DIY film making.

SCREEN TIME

A major redevelopment completed in 2009 sought to take its engagement with public much further, with the construction of two production studios and a substantial permanent exhibition – Screen Worlds: The Story of Film, Television and Digital Culture. Screen Worlds follows Australia’s engagement with screen culture as both consumer and creator. It’s a huge interactive and immersive exhibition that uses all of the weapons in the audiovisual armoury to illustrate how each of the forms of the moving image have emerged

and evolved as powerful creative and influential media. ACMI was helped in the creation of the exhibition by Mitsubishi Electric Australia which provided three years of sponsorship for Screen Worlds that included the direct supply of all 65 projectors and 160 display panels.

The 1600sqm exhibition employs every available means to communicate with its audience; using historic and highly-recognisable artefacts, some 220 video streams showing on monitors and projection screens, and a series of immersive interactive experiences. The exhibition looks at the evolution of the moving image from three perspectives. Emergence examines how, in not much more than a century, the moving image has changed the world. Voices looks at how Australians have contributed to the development of the moving image, and how the moving image has in turn, influenced who we have become.

Sensation uses hands-on, interactive experiences to illustrate core aspects of the moving image: light and shadow, colour and abstraction, sound and vision, and time and motion.

EMERGENCE

Emergence charts the international evolution of the moving image from an Australian perspective.

This section moves chronologically through the arrival of each form: film, television, video games, the Internet and beyond into today’s meshed small-screen portable devices. It also highlights key moments and dynamics in moving image history, ending with the question: where will the moving image go next?

Emergence exhibits include a Lumière Cinématographe from 1896, the rare camera/ projector that marks film’s arrival, the Rocket Clock, Humpty and Jemima from Play School, the Ned Kelly armour worn by Heath Ledger in Ned Kelly, the original Felix the Cat model, a mechanical television interactive based on John Logie Baird’s original from 1925 drawings, models from Toy Story, an original stumpcam from World Series Cricket, and early video games devices including a Magnavox Odyssey, the first home console. Included in the displays are selections of early film and video equipment that many of us will recall being breathtakingly stateof-the art at the time of its introduction.

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FEATURE

The very popular Timeslice booth . A spiral array of 36 cameras capture your antics and replays them in the slow-motion effect best known as ‘Bullet Time’ (which would explain the gratuitous Matrix-style decor).

VOICES

SENSATIONS

Voices offers a look behind the scenes at the creative processes of Australian moving image makers at home and abroad, including the contributions of digital effects creators, famous actors, DIY heroes and indigenous screen talent. Its exhibits include a replica of the iconic Interceptor car from Mad Max, an original canoe from Rolf De Heer’s Ten Canoes, Yoram Gross’ original animation table used to produce Dot and the Kangaroo, Geoffrey Rush’s sword and necklace from The Pirates of the Caribbean, costumes worn by Nicole Kidman in Moulin Rouge! and Cate Blanchett in Elizabeth, film and TV award statuettes, including Oscars, Golden Globes, BAFTAs, AFI Awards and (gasp) Logies, Kylie Minogue and Dame Edna Everage costumes, a giant interactive map that identifies the locations featured in well-known films and TV series, and the piece de resistance: Dexter the Robot from Perfect Match.

What I found most confronting was a display cabinet whose contents include a couple of exposure meters that belonged to Academy Award-winning director of photography, John Seale. One of these was the same model of Seconic meter that I used right up until I got my first digital meter in the early ’90s. It’s pretty devastating to find one of your favourite tools has become a museum exhibit!

Sensations is the big-ticket interactive section of the exhibition that features some really fun activities to engage kids and adults at every level of immaturity, and doing so successfully camouflages the learning process. Include are activities such as: ‘Timeslice’ is a Matrix-themed booth equipped with a spiral array of 36 cameras to produce a similar multi-camera slow motion effect to the renowned ‘Bullet Time’ sequences in the Matrix films. The output from your adventures in the booth is saved as a Flash video file and can be emailed to you to for later viewing (as long as you don’t want to watch it on an iPhone or iPad).

Krome Studio’s TY the ‘Tasmanian Tiger Zoetrope’: a stunning 3D zoetrope with almost 300 different models used to create the illusion, and my personal favourite of the entire exhibition. This exhibit alone is worth the price of entry (which by the way is free).

Anthony Lucas’ ‘The Faulty Fandangle’, where an Oscar-nominated animator combines animation with mechanical illusions and shadow play.

‘Pong vs Tennis’ where you can team up with a friend and play retro-style vs wireless videogame.

‘Flip Book’ is a chance to create a 40-frame flip book ‘animation’ starring yourself and some of your friends and then have it printed

in the ACMI Store.

The Sound and Vision Room offers the opportunity to experience how the space of a film can be transformed into a three-screen, surround-sound production with some creative post production. This environment screens excerpts from existing feature films enhanced by collaborations between post house Soundfirm and directors Baz Luhrmann (Australia), Philip Noyce (Dead Calm) and Zhang Yimou (House of Flying Daggers).

‘You and I, Horizontal’ (2006) invites you to step into a dark, haze-filled room and witness Anthony McCall’s 3D sculpture made from projected light.

‘Shadow Monsters’ is a real-time interactive experience. Creatures are formed from the silhouettes of the participants, where the camera captures their shadow and it is input into a computer that transforms the projection into characters by adding shapes to the shadow.

Your kids can literally become scared of their own shadow.

GAMES LAB

The fourth section of Screen Worlds is the Games Lab, a fun area for screen gamers, which (although it uses cool big screens for playing such popular games as Quake, Tetris, Civilisation and Pro Evolution Soccer) unfortunately has little

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024

FEATURE

Back to the very fundamentals of the moving image: Krome Studio’s magnificent zoetrope.

The four strobes that freeze the motion on this exhibit punch out so much RF that it swamped the data in nearby UTP cable runs. Needless to say the work-around was clever, and simple.

Photo: Andy Ciddor

or no redeeming social or educational value, and thus probably doesn’t deserve a mention in this article. Except that ACMI has long seen the importance of screen games in the national culture and has been one the few institutions in the world to acknowledge and track their impact.

AV ABOUT AV

Within the overall concepts of the exhibition, each of the thousands of objects and hundreds of image streams has been individually and meticulously designed, researched, assembled and presented. The 220-odd micro-features and micro-documentaries that make up the 30 hours of material on display, have each been researched, written, edited, and mixed by ACMI’s own curatorial and production teams to tell very precise aspects of the big moving image story. The audiovisual components of the exhibition were also specified, acquired, programmed, installed and commissioned by the same ACMI AV staff that are responsible for the exhibition’s care and maintenance. The touchscreen interactive software employed throughout Screen Worlds was also developed in-house. The in-house approach resulted in systems that were designed not only for high quality presentation when the exhibition opened, but for an exhibition that could be maintained at that standard for the very long run, ie. a ‘permanent’ exhibition.

At the heart of this strategy is the use of standardised components throughout. There are only two types of projector in use: the Mitsubishi single-chip DLP WD500U-ST for short throws and the 3LCD Mitsubishi HL2750U for pretty much everything else. Despite the diversity of the exhibition and the large number of screens, there are very few types of video monitors in use: a large 46-inch 16:9 HD display panel, a smaller 32-inch 16:9 monitor, 19-inch and 24-inch 16:9 touchscreens and the in-house developed 10-inch 4:3 monitor with a built-in PC an IR touch bezel.

In the four server rooms, the standard building block that forms the basis for the video displays consists of a commercial off-the-shelf computer with a dual-head VGA card to provide two independent video streams, an RS232 serial port for machine control of the remote projectors, and a USB port for the touchscreen interface. All data feeds (video, audio, USB and RS232) from the server rooms to the exhibits are via baluns over naked Cat6 UTP cable. A library of the hard drive images from each exhibit is held, so when a machine fails it can be replaced by a spare system loaded with the appropriate image Media is replayed via multiple, synchronised instances of everybody’s very favourite open source media player, the rock-solid, extensible and ever-tweakable VLC (www.videolan.org).

The AV department has now become VLC command line wizards.

The two dozen custom and special-purpose projection screens found throughout Screen Worlds are LP Morgan surfaces supplied by Herma.

Most of the low-level localised audio replay is through plastic-box low-budget computer speakers although there are a small number of interesting exceptions. SolidDrive SD1sm surface-mounted transducers are used to turn parts of the interactive Locations Map into sound emitters and Holosonic Audio Spotlights are used in the ceiling above some freestanding exhibits that require substantial sound isolation.

It should be no surprise that exhibition lighting designers Bluebottle used vast numbers of Philips Selecon Aureole profile spots to light the signage and the objects on display without washing out the images on projection screens and LCD panels. Lighting control for the exhibition space is a Philips Dynalite system which was extensively expanded from the original ACMI installation.

A CONNECTION

No matter what your experience and involvement in the audiovisual industry (and unless you found this magazine on a train or in the pile in a waiting room, you probably have some connection, however tenuous), Screen Worlds at ACMI is worth a visit. It’s interesting, engaging, extremely well presented, and an outstanding example of how AV can be used to tell the story of AV. 

Get involved: Newswire is AV’s e-newsletter stuffed with news and info pertinent to the Australian AV professional. Newswire will be regularly popping into your inbox bringing with it exclusive news on significant projects in progress around the country, along with training information, job opportunities and product information.

Newswire provides a perfect way to bring what’s important to you, to the attention of the Australian AV sector at large.

We want to know:

• What projects you’re working on right now.

• What new and changing technologies are in the pipeline.

• What’s happening in your business and with your brands.

• What’s happening in your team: who’s joined or changed roles, and who’s got something to celebrate.

• What product and technology training opportunities you have coming up.

• What industry jobs are currently on offer.

Be part of AV Newswire by telling us what’s going on in your part of the AV industry.

To make it easy to file your report, we’ve provided some template documents for you.

Just log onto the AV website and follow the Newswire link.

For editorial inquiries contact Andy Ciddor: andy@av.net.au For advertising opportunities contact Stew Woodhill: stewart@av.net.eu

026

FEATURE

Now and When An innovative 3D projection installation wows them at the Venice Architecture Biennale.

Text:\ Graeme Hague

The Mecca for architects, the place where the best of the best get to show their sharpest ideas, is the International Architecture Exhibition [IAE] Biennale held in Venice.

It’s a prestigious event that warrants sometimes years of preparation by the participants.

Standing head-and-shoulders above the other exhibitors is always tough, and in 2010 there were over 170,000 people through the gates expecting to be impressed.

The Australian Government actually owns a permanent pavilion in the Giardini (managed by the Australia Council), and in the alternate years to the IAE it hosts our artistic offerings for the Venice Art Biennale, another world-class event. But last year it was the architect’s turn, and on display was the NOW and WHEN Australian Urbanism exhibition. The exhibition was an initiative of the Australian Institute of Architects, while the implementation of the display was overseen by the pavilion’s two appointed creative directors for the occasion, John Gollings of Gollings Photography and Ivan Rijavec of Rijavec Architects. Two separate theatres would offer 3D images of contemporary and futuristic architecture.

The ‘Now’ content of the project was a comparatively straightforward idea of presenting three-dimensional images of three Australian cities today, Melbourne, Sydney and Surfers Paradise, plus some stunning pictures of the vast open-cut mining pits at Kalgoorlie and Mount Newman. The ‘When’

side of things came from the results of a nationwide competition run by the Institute. Architects around the country were invited to visualise Australia’s urban landscape in 2050 or beyond and a winning 17 entries were selected. All of them were included in a catalogue produced for the exhibition, 16 of which were used in the final projections.

CAPTURING NOW

John Gollings is a highly respected artist and considered by many to be Australia’s premiere architectural photographer. He used aerial photography and a relatively new technique to capture the stereo images of the cities and mine sites. Traditionally, stereo photography uses a process of having two cameras with lenses 65mm apart (the average human interocular distance) and taking a set of pictures at exactly the same time. Golling’s method employs an intervalometer – a refined time-lapse shutter controller – that allowed capturing the images from a single moving camera. The procedure requires some careful maths to get the desired results and in this case, he was operating the equipment in a helicopter travelling at 30km/h and 600m above the ground, taking images at points precisely 20m apart.

No Biggles-like aerobatics were required for the futuristic images. Melbourne-based company FloodSlicer specialises in producing 3D animation and, as a kind of aside to this rapidly evolving market, converting (or preparing from scratch) documents of any type into 3D images suitable for projection.

Making pretty pictures even prettier is an obvious application, but FloodSlicer’s most frequent brief is helping clients visualise their concepts better by creating and rendering 3D presentations from two-dimensional diagrams, drawings and CAD files. The name, by the way, comes from combining the names of the company’s two directors Daniel Flood

and Samantha Slicer. When it came to the Now and When submissions, the volume of entries was unexpected – 129 were received – as was the diversity of formats that were submitted; ranging from scribbled cartoons on the back of a soggy drink coaster to fullyproduced and complete 3D presentations in their own right (okay, I’m kidding about the drink coaster thing, but you have the idea). Initial modelling after acceptance was performed in Autodesk 3DS Max software. Incidentally, a hell of a lot more work over and above what had been envisaged and budgeted for was done by Ivan Rijavec, the FloodSlicer team and John Gollings’ staff for the good of the industry and to help put our best foot forward in Venice – and thus in front of the world. So if you get a chance to buy them a beer...

OUT OF OUR DEPTH

With so much time and creative effort put into the exhibition, Gollings and Rijavec weren’t about to welcome their prospective audience into the theatres with a pair of throwaway cardboard 3D glasses each and a bag of popcorn. Still, an active system where the spectacles are hardwired into a synchronising signal of some sort was going to be far too impractical given the numbers of people who would be attending. After careful consideration they chose the Infitec anaglyph image separation platform, (also licensed as Dolby 3D) developed by the Germanbased company of the same name and distributed by Jumbo Vision in Australia.

FEATURE

027

Infitec doesn’t rely on polarisation to differentiate between the alternating images

Multiplicity by John Wardle Architects and Stefano Boscutti. Image: FloodSlicer

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FEATURE

Melbourne, VIC, Australia Photographer: John Gollings

Infitec is still a passive 3D distribution solution – the audience members wear an unfettered pair of 3D glasses. However, the Infitec glasses are more robust then their cardboard counterparts and designed to be cleaned, then re-used (“up to 100 times” according to Infitec’s website – what happens after that is mysteriously unclear...). More importantly, Infitec doesn’t rely on polarisation to differentiate between the alternating images that 3D projection uses to create its effect. Instead, Infitec uses a sophisticated anaglyph technology based on colour correction and the rapid left-and-right eye division is achieved though a rotating filter placed in front of the projector. The results are a more consistent image, largely because you don’t have to keep your head still as you

do with polarised lenses. Another advantage, is you don’t require a special screen surface – projection can be focused on any standard material or screen, the quality of which is entirely up to the designer.

Something that did concern Gollings and Rijavec was whether an Infitec system would last the distance for their exhibition. This isn’t to suggest the equipment was lacking in any way, but they sensibly recognised that three months of continuous operation – the duration of the exhibition – is a lot to ask of any gear of this type without some sort of potentially costly maintenance back-up plan in place.

The solution was to build a dual video card computer that could output the alternating images for the left and right eyes to two linked

Projectiondesign F32 WUXGA projectors with corresponding built-in Infitec filters. The projectors were precisely aligned to overlay each other on the screens. This replaced the spinning Infitec filter normally in front of a single projector – the filter rotator being seen as the most vulnerable component. In fact, Infitec is currently implementing new technology and products to do exactly the same thing. For the Now and When exhibition the FloodSlicer IT department deliberately went for a tried-andtrue PC configuration that they knew would be reliable, blowing the cobwebs out of a Windows XP SP2 machine and installing a pair of Gainward GeForce 8800GT cards. The software used was Stereoscopic Player, a lowend application that proved rock-solid as well.

QUADRAPHONIC COMEBACK

High quality audio wasn’t forsaken in the face of all this 3D visual trickery. Quite the contrary really.

Two4k Audio Design owned by Nick Murray and Carl Anderson created a soundscape for each of the theatres. John Gollings asked for something visceral – a soundtrack that had an almost physical impact and couldn’t be ignored. Two4k took this literally by creating multi-track compositions that included, beneath quadraphonic melodies (pairs of front and rear speakers in each space), low-level sine waves at around 65Hz that that were subtly modulated by half a Hertz over an 11-minute loop. RCF subwoofers were employed to deliver this phase-modulated soundfield that could be literally felt as much as heard, sweeping around the rooms as the phase relationships evolved. In the Now section the melody base featured heavily processed guitar sounds with a slightly dark theme to suggest that our present living arrangements are largely unsustainable, whereas the When theatre audience heard something a little more optimistic. In both, it was a rich and spatial audio environment that was unmistakeably an integral component of the exhibition.

In Venice, visitors to the Australian pavilion entered the first auditorium to experience Now, a presentation of around five minutes, before moving down a passageway to the second theatre to witness the When display. When the exhibition is opened for two seasons in Australia, first in the Gold Coast Art Centre during April this year, then for almost 12 weeks starting July 2nd at Object – Centre for Craft and Design in Surry Hills, the setup will probably be reconfigured to suit a single space, but the content and visual impact of the display will be exactly as seen in Venice. However, audience numbers for each session will be restricted to the number of Infitec glasses remaining from the Venice showing, but after dealing with 93,000 visitors through the Australian pavilion you can be confident it will be a smooth operation.

While on the subject of those 90-odd thousand punters, this was a major project for the Australian Institute of Architects and with that level of attendance in Venice, it’s hats off to the Institute for backing a clear winner.

The Now and When Australian Urbanism Exhibition wasn’t just a showpiece of clever, crystal ball gazing by our architectural community using new AV technology.

It may well have permanently changed how building industry clients and designers will soon always expect to preview their construction projects, large and small, in architect’s offices everywhere–projected or displayed in high resolution, three-dimensional detail before a single brick is laid. 

MORE INFORMATION Jumbo Vision International: www.jumbovision.com.au Infitec: www.infitec.de two4K Audio Design: two4k.com Gollings Photography: www.gollings.com.au FloodSlicer: www.floodslicer.com.au Australian Institute of Architects: architecture.com.au

Above: A pair of Projectiondesign F32 projectors, each fitted with an Infitec anaglyph filter provided the stereo images, whilst four loudspeakers provided the quadraphonic (4.0) audio.

Below: Infitec glasses hanging from a thread, awaiting the next group of visitors.

Images courtesy of Gollings Studio

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FEATURE

Inundated In the days after the disaster, AV talked to a number of companies who have borne the brunt of the terrible flooding in Queensland.

Text:/ Lucie Robson

FEATURE

The staff at Advanced Video Integration in Milton arrived at work early on Tuesday January 11 expecting a regular day, but a few hours later were forced to evacuate their premises and send stock away in vans. “Obviously at that point we were not fully aware of how high the water was going to go,” says Business Development Manager Shanelle Stokes. “When we found out later that afternoon that it was expected to rise to the level of the ’74 floods, that rang some alarm bells for us and some of the guys were able to go back to the building and decided to sandbag. We sandbagged but obviously that was completely useless, because by Tuesday night we had our whole bottom floor completely under water.”

At the height of the worst floods in decades, three quarters of the entire state of Queensland was declared a disaster zone. At the time of writing, the death toll was 20, with 12 people still missing. Recovery work will continue for months.

“The damage that was done was largely the disgusting mud that you would have seen on the television – it came through our whole bottom floor,” Ms Stokes continues. “We have lost quite a bit of stock. We didn’t actually have an evacuation plan set up because we had never thought that anything of this magnitude would happen to us.”

SCHOOL’S OUT

Not many people or businesses did. In a flood, often the only thing that can be done is to move costly equipment to higher ground and hope for the best. Darryl Rosin is the team leader of Client Technology Services at Griffith University, where the Southbank Campus, including the Conservatorium, has been shut for days. He says that it’s as yet unknown if equipment was damaged.

“The building was sandbagged, and that prevented any water from entering the building, as far as we know. Some of the AV equipment is

in the library area and that gear will need checking – because the rooms have been surrounded by water and without air conditioning for a week, it’s prone to mould infestations. It’s a major problem,” he says.

Mr Rosin says that moving as much equipment as possible to higher ground was a “race against the clock”.

But even though the aftermath can be just as terrible, he continues, floods are unique in that there is sometimes enough warning to have proper procedures in place. “Before the floods arrived, the main problem was mould showing up in lots of places, such as people’s houses, and the ongoing fight with that. Floods are different to many sorts of natural disasters because they kind of happen slowly. You have a couple of day’s notice that the flood is coming, it’s not a like a bushfire that comes through or a severe hailstorm, where by the time the word gets out that there’s a problem, it’s all over.”

WORK ON HOLD

For other industry members, damage that could have been catastrophic was averted by a lot of preparation and quick thinking. Greg Fields, General Manager of AVI Corporate in Newstead, says the fact their team had only very minor damage to its equipment was a stroke of luck, considering the building backs onto Breakfast Creek, the main tributary from the Brisbane River. Similar to other affected audiovisual businesses, one of the biggest problems has been the amount of scheduled work that is now on hold.

“It’s an unknown as to how well the big businesses will recover,” he says. “At the end of last year we were starting to see some positive growth, but now everyone’s gone back into recovery mode. In the short term a lot of people will focus on getting things back together, and maybe not on marketing and future events.”

Large entertainment venues in the city such as Queensland Performing Arts Centre, Brisbane Convention

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and Exhibition Centre (where AVI Corporate staff had jobs planned) and Queensland Theatre Company have suffered water damage in their lower levels and remain closed. However, in these venues as well, forward thinking prevented what could have been catastrophes, with expensive audiovisual equipment moved up to higher levels before the floods waters came through, although the Theatre Company did have permanent underseating speakers that were damaged by floodwater.

VALLEY HIT HARD

Videopro in the Fortitude Valley, is feeling the effects of a heavily flooded carpark, and no electricity. A number of its retail stores were forced to close and the immediate future is quite uncertain, says Financial Controller Jason Sing.

“All our computer servers here at head office were cut off. We didn’t have any security here either, so we had to get a security guard, which was quite an effort because everyone wanted security guards,” he explains.

Staff moved all equipment to a higher level, just in case, but water damage did not eventuate, although the carpark is still under water.

“All our retail stores in Melbourne and the Gold Coast were being affected by the computer servers, so we had to buy some generators, and get them all hooked up,” he continues. “Even then, because of some on-going problems those generators have needed constant monitoring ever since.”

DISASTER MANAGEMENT

Haycom Staging in South Brisbane had to relocate all staff and servers to a temporary office to escape the rising water levels. “We had a disaster management strategy, which we activated when we were asked to evacuate the building,” says Ian McManus. “We were very lucky because the water line was about a metre below our warehouse floor.

So we didn’t get any equipment

Photo: Mervin Chiang

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Photo: Tom Whelan

Photo: UofQ

Photo: UofQ

The North Quay 1 ferry terminal disappears under a rising Brisbane River. Insets: University of Queensland St Lucia campus during the floods.

“We sandbagged and obviously that was completely useless, because

by Tuesday night we had our whole bottom floor completely under water.” damage, however the building’s first floor, the floor below us, is extensively damaged. And unfortunately the power distribution board is there and will have to be rebuilt.”

Unlike other AV businesses in the area, Haycom has been as busy as ever, and have not had to postpone any projects as yet. The Production Shop in East Brisbane also escaped unscathed but director Graeme Hicks says that the business is donating 1% of sales for the next six months to the disaster recovery fund, and hopes that others in the region will do the same.

SMALL BLESSING

Derek Powell, manager of Teacher Technology Support at the University of Queensland, is grateful that the flooding happened during the university holiday period. “As far as damage to the university is concerned, we’re still checking it out at the moment but it seems that probably only a couple of our teaching spaces have been damaged by floods,” he continues.

“The university is actually built very sensibly, with its own flood plain around it, which is

the playing fields, tennis courts, the swimming pools and parking areas around the periphery of the university, where the river flows. So we didn’t get a whole lot of inundation around any of the teaching areas. The places that did go under are areas like the glasshouses, the research facilities, but we’ve suffered very little damage to the audiovisual infrastructure, that we can tell at this point.”

Over in Toowoomba, where the flooding came with far less warning, much of the CBD was shut down and business at Visual Focus will be slow for some time yet. “The whole town’s been very quiet, everyone is waiting to see what the outcome is going to be and holding their cards close to their chest. Obviously no one is spending any real money at the moment, until they’ve worked out what they’re doing,” says manager Ralph Atkinson.

ASSESSING THE IMPACT

While the inconvenience of delayed building works and power shortages can have lasting effects, the disruption to the lives of Queenslanders themselves is no doubt the

worst result of the disaster.

“The toll on some people… they’ve lost everything,” says Darryl Rosin. “I was talking to a colleague today, and his mother lives in an apartment that’s all gone and the state emergency service has just moved in with a front-end loader and started scooping up everything from the apartments. You could see family photos and other valuables falling out.

That’s pretty terrible.”

The distribution of damage can seem unfair, remarks Greg Fields, whose businesses premises stayed mostly dry, despite being right in the thick of the flood zone. “Just to see the fact that one side of the street’s right and the other one’s not, one side’s devastated, one’s not. But everyone’s just in there, doing their thing.” Thankfully, there was no shortage of volunteers for the factory clean out, a fact that all the other affected businesspeople have also praised.

“The Queensland spirit shines through.”  Queensland Premier’s Disaster Relief Appeal: www.qld.gov.au/floods/donate.html

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FEATURE

Together In Electric Dreams The Electric Canvas has pulled off the seemingly impossible in recent times.

We ask: “what’s the big idea?”

Text:/ Tim Stackpool Images:/ Courtesy of The Electric Canvas

Perhaps not surprisingly, it’s an Australian company that international events producers often turn to when in need of large-scale projection. Even closer to home, The Electric Canvas (TEC) enjoys significant notoriety for that instant ‘wowfactor’. These days it would be hard to identify any significant event taking place somewhere in the world that doesn’t use some form of large-scale image technology.

“From the very beginning we wanted to base our operations around an in-house design department specialising in this particular niche. Our content creators include lighting designers as well as people with architectural and graphic design backgrounds, and of course digital animation and rendering,” said company principal Peter Milne. Because the firm is project orientated, the company’s skills and technical capabilities have grown to meet the great variety of projection challenges they have been presented with over the years. After several years of exclusively using the French PIGI filmstrip technology, the company enjoys a legacy of “measure twice and cut once”, and the importance of checking calculations and maintaining accuracy through the entire process remains paramount.

“With the PIGI technology there are no zoom lenses, no lens shifting, no inprojector keystone correction, so what is

printed on the film strips had better be right when you arrive on site to finally put many metres of expensive and time-consuming film scrolls onto the projectors,” Milne said. “It’s definitely not the time to discover errors with the process. We carry the same philosophies and methodologies over to the digital projection world and don’t subscribe at all to the plug-and-play myth that the advent of digital projection brought with it.”

MISSION IMPOSSIBLE

For Milne, the need for accuracy and attention to detail starts from the very beginning of the process, so TEC has developed a number of survey and projection design strategies, as well as acquiring the technology to facilitate them, quite often by developing their own equipment and software solutions.

In terms of challenging projects, safety and timescale is the caveat usually raised when tackling some of the more ‘impossible’ projects. “One story I often tell dates back to the closing ceremony of the Sydney 2000 games where we were asked to project onto a giant geometric solid in the centre of the field. This 15m-high dodecahedron was able to transform from a flat surface to a multifaceted stage in its ‘half’ mode and then, for the finale, a fully formed ‘geodome’ that could then rotate and rise a further 15m on its vertical mast,” said Milne.

The challenge was that this “machine” could not be assembled in the stadium until after the last day of competition, meaning that TEC’s overnight set up wasn’t complete until the audience gates had opened on the afternoon of the closing ceremony. There was no darkness to facilitate a line-up on the geodome for the four PIGI projectors some 100m away (also installed overnight in the four corners of the spectator seating).

As Milne explains, “We had previously determined practical locations for the projectors and surveyed these positions with laser accuracy so we could emulate the overall geometry of the task at the rehearsal venue located at the old decommissioned aerodrome at Schofields in Sydney’s west. So the mapping was surveyed, developed, tested and the show programmed at the rehearsal venue using scissor lifts to emulate the stadium projector positions. After careful marking and measurement, the equipment was disassembled and moved to the Olympic Stadium. Success hinged on our plan to affect a daytime projector line-up and once the geodome was finally operating – just after the gates had opened – we had our one and only opportunity. By using our programmed line-up images on the PIGI films, we temporarily turned each of the projectors into a giant camera obscura by throwing a black cloth over each machine and focussing

FEATURE

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Cathedral of Dreams: St Mary's, Sydney, lit up like a Christmas tree by The Electric Canvas ‘The Lights of Christmas’ is an event created and owned by AGB Events.

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“We carry the same philosophies and methodologies over to the digital projection world and don’t subscribe at all to the plug-and-play myth”

Crossing Over: The Harbour Bridge pylons get beautified by The Electric Canvas, as Sister Mary McKillop gets beatified by His Holiness, Pope Benedict XVI.

the image of the geodome back down the lens and onto the line-up image in the gate of the projector. I remember the look on the face of our Paris-based technician, who had not really understood up to this point how we were going to achieve a line up, once he finally witnessed the method in our madness!”

For those who remember the occasion, TEC saw the fruits of their labour for the very first time in the stadium at the same moment that the entire world saw the projections. “The line-up was perfect and all the effects ran as planned,” said Milne.

NUN SHALL PASS

More recently, the canonisation of Mary MacKillop as Australia’s first Catholic saint proved to be another milestone result from a last minute engagement, requiring the subject’s images and key achievements to be projected onto the pylons of the Sydney Harbour Bridge. “The project had been rumoured for some time but no formal approach was forthcoming,” said Milne.

“Behind the scenes, a number of government bodies had been discussing how the project could be activated. It was 10 days prior to launch that we became officially involved so

we decided to apply a full digital projection approach to the project despite the budget being typical of a PIGI-only treatment. We had wanted to do the pylons digitally for some time and had worked up a projection study a couple of years ago in anticipation of finding the right opportunity.”

Both sites required use of generators, with a letter drop asking the residents close by the North Sydney site for their understanding and indulgence. Once the plans had been drawn up and submitted, along with schedules and notes required to get all the stakeholders on-board and feeling

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CRUISEY APPROACH We were asked in 2007 to design a 10-minute projection sequence for the re-naming of a cruise ship. The task was to project onto the entire 240m-long ship parked at Sydney’s Overseas Passenger Terminal from our projector location near the Sydney Opera House – a distance of some 350m. The challenge was that the ship would not arrive until the afternoon of the show and that there would be only a 10-minute window during dusk to perform a discreet line up of the 10 PIGI projector array before the one and only running of the son et lumiere. No tech run, no rehearsal.

With basic drawings of the ship we built a 3D CAD study to model the projection and to calculate lensing, distortion and other parameters that would determine the creative opportunities and constraints for the PIGI double-scrolling, rotating-film system. The show was developed to a storyboard we had worked up and a soundtrack was commissioned by the client. While we have a PIGI visualiser that allows us to program shows to a soundtrack using timecode, the resolution of the simulated display is not high enough for accurate film positioning, as would be required for this long-throw projection.

Once the film was printed and mounted we fine-tuned programming by using two PIGIs projected onto the warehouse wall, emulating adjacent projector pairs and swapping film scrollers until all 10 projectors had been programmed as accurately as possible.

Once set up on site on the show day, we achieved basic pointing and lens focus by through-the-lens techniques while waiting for our 10-minute dusk line-up window. The line-up went well despite having to avoid at all costs, any glare into he eyes of passing ferry captains.

What followed was what felt like an eternity nursing a healthy desire to get the show done. However, we were confident our plan and diligence would pay off. And it did. When we finally received the ‘roll track’ cue, the show performed perfectly and we, and our audience, saw the result for the first and only time. – Peter Milne

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FEATURE

relaxed, the physical installation went ahead smoothly and efficiently. There were challenges with restrictions on the permissible extent of animation allowable on the southern pylon due to risk of traffic hazards, meaning two separate shows had to be created for the north and south pylons. For the presentation, 26 of The Electric Canvas’ Christie Roadster S+20k projectors (20,000 ANSI lumens) were used to cover both pylons in a topto-bottom digital array. Each array was aligned and controlled by TEC’s Onlyview media delivery system.

NIGHT BEFORE CHRISTMAS

Similarly, ‘The Lights Of Christmas’ was another long-discussed project that came to fruition very late before launch. The green light for the project was lit in September but a budget wasn’t agreed to until late October with official appointment and script sign-off not until middle of November – just over two weeks before setup, a familiar tale. “Of course we were well and truly in the midst of content production by then with seven artists and animators working full time on the project,” reported Milne.

The project required the illuminating of two iconic Sydney landmarks, for which TEC already had existing architectural templates following the highly successful Macquarie Visions project earlier in the year, “But I elected to re-shoot our survey of the Cathedral with a mind to a full digital projection approach,” said Milne.

“As sometimes happens, we had agreed to a PIGI scale budget but it suited the project timing to use our digital projectors thus opening up the creative opportunities.

Our art department logs show that nearly 1000 studio hours were used, not including render time for the various animations that were carried out, usually overnight, each day.”

The setup on site, which included a smaller rig at the Hyde Park Barracks, took two days including projector line-ups, all of which went quite smoothly.

Twelve digital projectors were used for illuminating St Mary’s Cathedral, with three deployed at Hyde Park Barracks. All control, warping, and video/audio playback was controlled by OnlyView.

FRANTIC PACE

When asked about what he would do differently on these jobs, Peter Milne echoes a sentiment expressed by many in this business: “We would definitely like to have the luxury of a realistic timeline to develop the creative more thoroughly, from storyboards to scripts, to soundscape design. Projects of this nature undertaken under tight timelines take a large toll on those who work on them, especially the creatives.”

Hear Hear! 

Sydney Christmas celebrations 2010 Above: St Mary's Cathedral Below: Hyde Park Barracks

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Education Technology

in association with

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REVIEW

Acoustic Technologies MK100A A self-powered compact loudspeaker that spreads the word.

Text:/ Christopher Holder

PRICE: MK100 (passive): $495; MK100V (100 Volt): $595; MK100A (powered): $895 Acoustic Technologies: (07) 3376 4122 or info@atprofessional.com.au

Upon first inspection the MK100A looks like a very well constructed, sturdy, compact, neatly designed… speed camera or display spot.

I guess what I’m saying is, Acoustic Technologies’ newest self-powered compact installation loudspeaker doesn’t look like anything else on the market. In fact, looks can be deceptive. What with the (included) 360° mount, it’s easy to assume the MK100A is the audio equivalent of a spotlight – aim carefully and fire a beam of highly directional sound like a fire hose. Not so. Perhaps the biggest selling point of this unit is its ultra-wide dispersion.

Rather than using the more conventional (and traditionally more efficient) speaker cone, the MK100A employs a flat, 100mm honey-combed aluminium transducer to provide 120° dispersion right up to 7kHz. Tucked neatly inside the compact enclosure is a 150W (at 6Ω) Class D amp and around the back you’ll find an XLR input, XLR link output, power switch and IEC power socket.

As soon as I sparked up the MK100A I was struck by a detailed, accurate sound. Crank the speaker up and you can squeeze a surprising amount of level out of the tiny four-inch driver (104dB @ 1m, is the spec). The device has a quoted frequency range of 90Hz–19kHz, and in practice you would certainly want to protect the MK100A from sub frequencies (the long-suffering four-inch driver starts flapping about if you expect too much low-end out of it).

Sound quality aside, where the MK100A really comes into its own is in its dispersion. The sound is extremely uniform across a very wide area. Although it has a specified dispersion of 120° up to 7kHz, in practice the sound is highly intelligible right out to 180° (and beyond even!).

HOSTILE ENVIRONMENT

To hear how the MK100A performed in a hostile acoustic environment I set one up in the foyer of my church. As a former Gas & Fuel Corporation depot, it’s a large space with concrete floors, 6m-high ceiling and metal walls – hundreds of cubic metres of acoustic purgatory. Spoken word was conveyed with excellent clarity. Thanks to the coherency of the sound, intelligibility remained very high,

even with the multiple reflections. And because of the ultra-wide dispersion, the MK100A managed to provide a credible one-speaker solution for the huge volume of the space – the fewer speakers the better in such a hostile acoustic environment.

The ease with which the MK100A deals with the spoken word will naturally lend itself to use in other acoustically hostile environments. Acoustic Technologies has peppered these pages over the years with news of its column speakers being used in parliaments, law courts and cathedrals, and I’m sure the MK100A will find itself similarly employed.

Boardrooms and open office environments (for sound masking) are also obvious applications.

Where high fidelity music replay is important – such as in hospitality and retail environments – the MK100A will provide a real alternative to in-ceiling speakers. Just don’t expect them to kick you in the diaphragm with trouserflapping bass (get hold of a MKB150A sub unit for that), but the detail and clarity really does shine through across a wide listening area. But unlike an in-ceiling speaker, it won’t sound like the audio is coming from the roof like a fire sprinkler. And, in all likelihood, it’ll sound quite a bit better than your average in-ceiling speaker.

I’LL TAKE A DOZEN… IN DUCK-EGG BLUE

The MK100A is neat little problem solver. The highly uniform, coherent sound will greatly assist intelligibility and reduce feedback problems in reverberant spaces.

The speaker – because of its lack of directionality – seems to just fill the space with an even, diffuse sound.

The detail and clarity of the aluminium planar driver makes listening to music a pleasure. I like the look of the extruded aluminium package and Acoustic Technologies is happy to colour-match from its Brisbane manufacturing plant – making you popular with the architect/designer. Already the MK100A has been employed by the hundreds in larger public institutions and it’s easy to see why. Is the MK100A suitable for every public address/background music application?

No. But, if clarity and high fidelity are important to a job, then it’s time to organise an audition. 

REVIEW

HD SERIES SOLUTIONS

Measured at 2.5kHz, this plot shows the uniformity of the MK100A‘s aluminium planar driver –remaining consistent from 90Hz up to 7kHz where the physical size of the driver begins to focus the dispersion.

AN INTERVIEW WITH ACOUSTIC TECHNOLOGIES' MD AV speaks to Acoustic Technologies Managing Director, Harry Lloyd-Williams.

AV: Are there plans for a passive and/or a 100V line version of the MK100A? Harry Lloyd-Williams: We have a passive version: the MK100.

Also we have been working on a 100V line version. We don’t like 100V line systems, because of the overall sound quality.

However, we have managed to develop a massive toroidal multitapped transformer, which has enabled us to as-good-asemulate the sound of the passive and active versions. We are very, very happy with the result. Sounds great.

AV: Was there any debate about using XLR I/O? HL-W: This was chosen mainly because of consultant and customer requirements, especially in the AV field where they would set up portable systems. For instance, in a G20-like summit, or some big conference where pristine audio is required.

Having said that, a Phoenix system is available as an input.

AV: Why the aluminium planar driver?

HL-W: Flat speakers are well known for their low distortion but traditionally low sensitivity has been a killer (they’ve been too heavy). New techniques and lightweight materials have allowed a whole new family of transducers to be created. The efficiencies are still not quite up to the cone-type speaker, but the fidelity and the amazing even/wide dispersion without any anomalous frequency hot spots, have made this a superior sounding device.

AV: How have you made the MK100A installer-friendly?

HL-W: We’re developing an installer’s ‘cookbook’ with suggestions, schematics etc. We also have a ceiling/wall plate, which has a mains outlet and signal outlet for ease of installation and overall neatness. The small IEC lead we pack with the MK100A is ideal for this. A typical scenario would be that you have a multi-room function area with a digital speaker management system that could control limitless zones of the MK100A with the MKB150A sub unit, allowing complete audio management. We also have EASE data and other associated design tools to assist in premium design.

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REVIEW

Redmine AV project management and support with online tools.

Text:\ Jonathan McFarlane

At many universities across Australia the audiovisual team has become a part of the IT department. While this makes sense because we work so closely with the IT services that we depend on, at the end of the day the two disciplines can find it a bit of a struggle to understand each other. However, there is a lot we can learn from each other, and as an audiovisual professional who works under the IT umbrella I have learnt a great deal.

I think that the most valuable thing I’ve taken away from my time working within an IT department is the streamlined work processes for project management and system support.

There are of course many similarities between our industries and the AV/IT convergence has been the focus of many articles, round table discussions and tradeshows. Today’s audiovisual devices are networkable, run an operating system and control system software is a major component of any large project.

Digital signage projects are a really good example of the AV/ IT convergence; with content management software and content delivery over IP networks. So with such similarities between the two industries, it makes sense to take advantage of existing IT standards, work processes and project management tools.

There are IT industry standards for support and project management such as Information Technology Infrastructure Library (ITIL), Information Technology Service Management (ITSM) and Core Practice. These are frameworks to define processes and philosophies to streamline IT support and project management. They define standards to identify work priorities, problem management workflows and risk control.

The IT industry being what it is, has of course built software applications with these standards as underlying principles.

RED SKY MINING

Redmine is one such application. A web-based suite of tools for project management, issue tracking and file version control to name a few. It is open source, free and can run on pretty much any existing web server. Redmine has become my online bible for any project I manage. Previously I would have turned up to many site inspections juggling a large folder of system drawings and printouts of the project timelines. These days I turn up with an iPad running Redmine with a spare hand to hold my coffee.

At the core of Redmine is an issue-tracking tool. In the project phase we can add all tasks and milestones to the issues list and track them on a timeline or calendar. After the project is complete the issues list can be used for logging support and maintenance tasks. Each issue can be set with priority levels, assignments to individuals, assignments to followers, estimated hours and deadlines. All issues are viewable on a Gantt chart or as a list of tasks. They can also be exported in a number of formats and pushed out as RSS (Really Simple Syndication) feeds. Gone are the days of emailing a new version of your MS Project file to all the stakeholders whenever you make a change to the project timeline. Clients and stakeholders can login at any

time to check progress and there are access levels to control what they can see.

I’ve implemented Redmine for the testing and commissioning phase at the recently-completed Australian School of Advanced Medicine at Macquarie University (see AV Issue 12). On such a large project an Excel sheet checklist wouldn’t cut it. All stakeholders needed to be on the same page, or in this case the same URL. Instead of emails back and forwards between the programmers, installation contractors, project managers and Macquarie University staff, we had a central list of managed issues. As I was testing each system, I was adding issues directly into Redmine from a laptop. The contractors were receiving the issues live via RSS before I had even packed up my pattern generator and walked out of the room. I set Redmine as my browser’s homepage and had a live view of the status of each issue throughout the commissioning phase.

LIKE A VERSION

It is easy to end up with multiple versions of documents on these large projects. I was once involved in a project where the system designer had updated the drawings but the installation contractors were working from an old version. During commissioning I was trying to find the missing in-house PC that wasn’t installed as a result of bad file management. To avoid these “it wasn’t on the drawing” moments we need document management that is more comprehensive than just adding a prefix to the file name. Redmine can link to a file repository with built in version control including logging, check in and out processes and a version history for recovery.

This also makes life easier for anyone working with control system code. I was commissioning a multiple lecture theatre installation project and each system was identical but mysteriously had a number of different code issues. It should have been the same code file for each system, but somehow there were multiple versions in circulation. A file repository with version control means there will only ever be one version making for a uniform rollout across multiple systems. Stephen Von Takach, Software Engineer at Advanced Control and Acoustics agrees, “Communication is very important in the AV industry. Old versions of code or old schematics have often caused problems and confusion in a project. With a central, globally accessible location of all the information – including latest documentation with built-in version tracking – it definitely helps keep a project on track and keep everyone informed of progress.”

AND A WIKI TO BOOT

Another handy feature is a built in Wiki for each project. This becomes an invaluable knowledge base, holding everything from instructions on how to terminate particular cables to directions to the closest pub. I end up copying useful sections of user manuals into the Wiki so I don’t have to search my computer or

REVIEW

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TOOLS IN THE REDMINE SUITE • Overview and activity monitor for a bird’s eye view of the project.

• Issue tracking with RSS feeds, Gantt chart and calendar views.

• Issue reporting with scheduling, priority matrix and task assignments • News feed for project status reports.

• Wiki for a central knowledge base.

• File repository for document version control.

• A library of other customisable modules developed by a community of users.

Above: Web-based project management puts the entire project at your fingertips (provided that you have network connectivity).

Right: Redmine’s File Repository screen tracks the versions of project documents and code.

Below: The Issue Details screen allows detailed tracking of an issue’s progress.

the internet every time I need to remind myself how to change the IP address of a particular device. It can also be a useful way to store such project data as default passwords and IP allocation lists.

I see a lot of value and potential in Redmine for the audiovisual industry. As it is open source there is a community of users that are developing its features.

The audiovisual industry ought to get behind these open source tools to help make them even more useful to the way we work. There are many other products with similar features but Redmine brings it all together nicely in one simple online interface. Audiovisual is not IT, but as we become linked with similar projects we can pick and choose IT standards and tools that work for us. I don’t expect many of us will sign up to a three-day ITSM course on service management (three days I’ll never get back) but these concepts are worth investigating as there are components worthwhile to the audiovisual industry.  Redmine: www.redmine.org

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REVIEW

Blend Me Shape Me Media servers that do much more than serve and project.

Text:\ Paul Newton

Hippotizer helps out with a multi-screen product launch for Montblanc watches in Beijing.

‘Media Server’ is becoming a confusing term within the events/production industry. Strictly speaking a media server is any device that stores and replays media, such as the systems that were covered the last issue of AV. Recently, however, the video and lighting industries have been inundated with a range of specialist ‘media servers’ to help manage and deliver content to display devices during a live event.

Whilst all of these systems could simply be used for replaying content, the title media server doesn’t accurately reflect their capabilities. All are loaded with additional features such as image shaping, warping, mapping, blending or stitching of multiple displays, which transforms them into sophisticated design tools for the show’s visual designers. All display elements (such as LED screens, projectors, scenic elements and plasma screens) can now be centrally controlled by these media systems, allowing much more flexibility and control than was previously possible.

The four main products that are gaining popularity both in Australia and around the world are Watchout (Dataton), Onlyview (ETC), Pandoras Box (Coolux) and Hippotizer (Green Hippo). This article is an attempt to

compare and outline the differences between these products and explain the reasons why they are popular with different sections of the events/production industry.

WATCHOUT

Dataton Watchout has been around for more than a decade, having arisen out of Dataton’s TRAX control system software, which faithfully controlled and synchronised slide projectors and myriad early audiovisual devices in the ’80s and ’90s. Watchout looks very similar to timeline, layer-based applications such as Final Cut Pro and other video editing programs.

Unrestricted layers can ‘house’ any type of still or moving media and can be manipulated in ways such as scale, opacity, position and colour. Watchout can act simply as a media server, triggering fullscreen multimedia files, or can be used to create multimedia presentations with the individual raw content (such as logos, objects, text, etc).

The system architecture is simple; there is a Production machine that houses the application (which manages and triggers the media) and there are Display machines that receive this media and drive the display devices. Each

display device (projector, LED wall or plasma screen) requires its own Display node. Thus a three-projector blended image will require a total of four networked Watchout servers: a Production machine and three Display nodes.

All show content is loaded onto the Production machine and is distributed via a fast Ethernet only to the required Display nodes for playback.

When you download and purchase Watchout – you are free to install it on your own hardware – you’re only purchasing the right to use the software. The software engineers at Dataton make some strong recommendations regarding hardware choice, but you are free to experiment. Interactive Controls is the Australia/New Zealand distributor of Watchout and sells 90% of their systems bundled with hardware – which is highly recommended. Why experiment when experts have done all that for you? Interactive Controls currently builds its Watchout servers with Intel i7 quad core processors, 3GB of triple-channel RAM and ATI-1024MB PCI-X 5700 series graphics cards, built into a 3U chassis for around $2500. It has a ‘one size fits all’ mentality, but will build more highly specified systems if required for a project or

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REVIEW

application. The hardware keys required to run the system are $2373 (+GST) and you require one for each machine in your system, so you’re looking at $5000+ per server unit.

Watchout supports soft edge blending which allows displays to be ‘stitched’ together seamlessly to create ultra high resolution displays.

Displays can be warped and manipulated to ‘wrap’ any 3D object or to compensate for irregular projector placement with keystone adjustments.

ONLYVIEW

ETC began development of Onlyview in 2003 to work alongside its own PIGI (a French acronym for Projector of Giant Computerised Images) large format strip projectors. Onlyview is very similar to Watchout in design and concept, and is the result of collaboration with ETC’s own designers, field technicians and video producers. The product is much of a mystery in the mainstream audio visual world as it is not available for hire without internal, qualified programmers and technicians. Only ETC (and their international distributors such as The Electric Canvas in Australia) are allowed to program or operate Onlyview, which means that it is more of a service offering as opposed to a rental product.

However, The Electric Canvas does have a large system available for use on their client’s projects. Show designers are free to introduce their own content but the rest of the system (including the display devices) is controlled by ETC. Electric Canvas supplied exactly this service to David Atkins’ Australian production of Hairspray (see the feature in the last issue).

Onlyview has quite a few unique features that set it apart from Watchout. It allows interaction with real objects via encoders and sensors, which means that content can track a moving object in the real

world. I have seen this actually demonstrated and the result is quite stunning. Watching a video image perfectly track a moving set piece is pretty clever stuff and a very cool feature for controlled environments such as theatre and corporate shows. Multiple timelines within the show was a standout feature of Onlyview when it was first released, but has since been matched with version four of Watchout.

Whilst Onlyview can be synchronised with Onlycue (ETC’s PIGI control software) each of its timelines can be separately controlled via internal clock, internal time code, SMPTE/EBU code or MIDI. Onlyview can also control an array of external devices such as projectors, LED processors, matrixes and various external media players such as Betacam players.

I recently met a technician who had lots of exposure to Onlyview and he claimed that the product has unparalleled usability for the programmer and technician alike. “Everything is fast, easy and incredibly accurate because it has been designed, in the field, by projectionists in consultation with multimedia professionals”.

PANDORAS BOX

Pandoras Box and Hippotizer have in the past been considered lighting products, but they are both making quite a name for themselves in the video world due to their feature-rich offerings. Both products are sold in a ‘sealed box’ with custom software and hardware designed to work together – kinda like buying an Apple Mac – but they’re both PCs running Windows. Both products are built to support a pre-defined number of video and graphic layers (depending on the level of the system purchased), unlike Watchout and Onlyview that are not defined or restricted (but would struggle to exceed the limits posed by Hippo and

BIGGER, BOLDER, BEST With Dataton WATCHOUT ® multi-display presentation software you create images as big, crisp and seamless as you like. Or design a dynamic backdrop on an array of screens, with stills, video, live feeds, animations, sound and graphics in one mind-blowing show.

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Images courtesy of Aztec Events and Mal Padgett, Douglas Mesney, Eyebrite

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046

Pandoras Box anyway). Both products, like Watchout and Onlyview have the ability to display external computer or camera/video inputs via onboard capture cards.

Coolux has spent a lot of time refining its products over the years. What was once a humble media server similar to Catalyst (Barco) or MediaMaster (Arkaos) has grown into a professional multi-video display product that holds its own in both the video and lighting worlds. It has truly helped narrow the gap between video and lighting with its Pandoras Box system.

Pandoras Box is available in three different Server formats – Lite (4 video, 8 graphic layers), Standard (8 video, 16 graphic layers) and Pro (16 video, 32 graphic layers). There are also cost-effective Player versions that have a reduced number of video and graphic layers and lack the 3D programming environment that the programmers and designers love – but they do the job. All the servers are sealed units that are essentially highly-spec’d PCs with tricked-up nVidia graphic cards. Each 3U server functions as two display nodes, having dual DVI outputs, each capable of 1920 x 1080 at either 50 or 60Hz. This is a very sensible design, resulting in a smaller footprint at control and fewer physical connections within the system. Prices range from under $10k for players and over $30k for a fully-optioned Pro server.

The warping capabilities of Pandoras Box are second-to-none and one of the most widely discussed features of the product.

The built-in warping editor lets you create any custom shape with what Coolux refer to as FFD’s or Free Form Deformers (what a great acronym). Each display can be warped extensively to wrap around 3D objects and, most importantly, this warping is visible on the preview screen (unlike Watchout that requires all warping to be performed ‘live’, in situ, with the projectors). The programming interface is also referred to as a true 3D compositing environment that allows realtime creative media production. All layers can be freely positioned and animated in 3D space, with the use of specialised display-viewing cameras, allowing a greater flexibility for the designer and programmer.

Pandoras Box also does live interaction with sensors and encoders and was selected for this task in the Australian pavilion at World Expo 2010 [see AV Issue 12].

Another great feature of Pandoras Box is the Widget Designer which allows you to create your own custom interface.

Essential show cues and presets can be easily

REVIEW

accessed without going near the timeline – reducing any risk of unqualified personnel accidentally de-programming the system.

The latest version also includes live scaling and frame rate conversion.

The effects engines of both Pandoras Box and Hippotizer HD far outweigh what is on offer with Watchout and Onlyview. Watchout and Onlyview rely on any ‘cleverness’ to be created within the content rather than within their respective applications. This puts a lot of pressure on the content creators and results in less onsite flexibility. Pandoras Box has over 200 transitions and 200 video effects and 50 different colour keying filters accessible to every layer. Hippotizer has up to 16 true media layers, with two FX engines per layer and 255 effects per FX engine. These features are very important for Pandoras Box and Hippotizer and the entertainment, VJ and broadcast markets they have traditionally served so well.

HIPPOTIZER

Hippotizer has some great, unique features.

One that stands out is the built-in media manager and encoder that automatically transcodes media to an optimal format.

Media management has always been one of the headaches with these systems: choosing the correct codecs and bit rates can be quite challenging. Having an internal media coding ability definitely seems to be a step in the right direction and a feature that others are bound to follow in the future. Like Pandoras Box, Hippotizer can also manage soft edge blending both vertically and horizontally.

There is no clear ‘winner’ with these different systems. They are all great products that can perform similar tasks – some better than others. Onlyview and Watchout were created primarily for corporate- and theatrebased applications due to their extreme accuracy which enables them to be the first choice for pixel-critical applications such as projector blending widescreen panoramas. Pandoras Box and Hippotizer seem to dominate the entertainment and broadcast industries due to their synergy with the lighting world and the number of possible on-the-fly effects that can be added instantaneously. All four products can be controlled via all the traditional live event mechanisms such as timecode, MIDI, DMX512 and third-party devices.

Flexibility must be a major attribute of all of these offerings as they all need to be able to slot into any live event architecture, be it corporate, entertainment, theatre, themed environment or permanent installations. 

Hippotizer in a box from Green Hippo.

Dataton's software-only Watchout with its NLE-like timeline interface.

Pandoras Box in a box from Coolux.

ETC's Onlyview showing its timeline structure and much more.

MORE INFORMATION Hippotizer: Green Hippo (UK) – www.green-hippo.com available from Clearlight Shows (03) 9553 1688 or john.mckissock@clearlight.com.au Watchout: Dataton (Sweden) – www.dataton.com available from Interactive Controls (02) 9436 3022 or info@interactivecontrols.com.au Pandoras Box: Coolux (Germany) – www.coolux.de available from Show Technology (02) 9748 1122 or info@showtech.com.au OnlyView : ETC (France) – www.etclondonparis.com available from The Electric Canvas (02) 9420 8817 or info@theelectriccanvas.com.au

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NEWS

InfoComm News News from the Oceania Region.

CALL FOR PRESENTERS – INTEGRATE IN ASSOC. 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 of 5 x 1 hour seminars on Future Trends in Technology, the Infocomm Academy will offer 6 x 90 minute seminars on a variety of technical topics and finally 2 x 3 hour conferences (3 x 1 hour papers) on Digital Signage and Collaborative Conferencing. If you would like to present on behalf of the InfoComm Academy at the 2011 show in Sydney, please go to www.infocomm.org/CFPform/callforpresenters.html We have extended the deadline for Submissions, they are now required to be lodged by 28th February 2011 to allow time for program development, attendee marketing and Certification Renewal Unit (RU) approval..

CTS, CTS-I & CTS-D CERTIFICATION TESTING CHANGES Pearson Vue took over as our contracted testing centre provider on January 1st. This has resulted in the doubling of available testing centres in the Oceania region. We now have access to testing centres in Sydney, Melbourne, Brisbane, Perth, Adelaide, Auckland and Christchurch. The testing centre locations are subject to change and will be confirmed as a part of your application / registration process.

This change will make taking a CTS test logistically a lot easier for our members, (sorry, the test itself won't be easier) and we are very happy to be able to bring greater accessibility to the certification program.

The Pearson Vue website www.pearsonvue.com/ infocomm also has some tools to help you prepare for taking the test. You can take a virtual tour of a testing centre, take a testing tutorial and practice exam (this doesn’t include CTS materials) designed to get you familiar with the testing process. The webpage also includes the calculator tools for download so you can practice using the same calculator that you will use during your exam.

INFOCOMM JOB BOARD InfoComm provides a job board for our members through our website at jobsite.infocomm.org. Individuals looking for work may post their resumes and companies may post their vacanies and search through candidates looking for work.

The costs for the service are discounted to members and are quite reasonable considering the reach. Next time you’re looking to recruit consider using this great member benefit.

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.

Invitations will be sent to members in the next few weeks.

Non-InfoComm members may contact either an InfoComm member or Jonathan Seller of InfoComm to arrange an invitation.

2011 InfoComm Exhibition, Orange County Convention Centre, Orlando FL. • Conference Saturday 11th – Friday 17th June, 2011 • Exhibition Wednesday 15th - Friday 17th June, 2011 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

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

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049

Measuring Light Units of light and their measurement and application in the audiovisual environment This is an excerpt from the Vision and Light Section of the newly revamped GEN106 Essentials of AV Technology Online. This course is a comprehensive, introductory overview of science and technology for audio, visual and audiovisual systems integration with more than 240 lessons, quizes to help professionals assess their understanding of the material, and section tests to help students demonstrate understanding of essential AV technology. Content from this course is the basis for the InfoComm-Recognized AV Technologist Test. Learn more about this exciting new education certificate program at www.infocomm.org/avtechnologist.

MEASURING LIGHT

When people first set out to quantify visible light, they chose as their standard a source which was familiar and common to them all: a candle. It was a specifically sized candle, made of a specific material, and moulded in a specific

Units of Light Measurement You may think of light in terms of AV systems, but light affects every aspect of the user’s experience in the environment. It is used for everything from reading and writing to walking through a building. You must therefore be able to accurately quantify the types of light in your environment.

Light is measured using two types of meter: incident and reflected. Incident meters measure light coming directly from a source such as a light globe, projector or monitor. Reflected meters, or spot meters, measure the light which bounces off an object like a projection screen or work surface. Reflected meters can also be used to measure the light emitting from a monitor, rear projection screen, or LED sign. A designer can use spot measurements and total surface area to calculate the correct lamp brightness required for a specific task.

The units of measurement for light vary by geographic region. You need to be able to identify these measurement terms.

light. Generally, a lux measurement is taken at a task area. The task area could be a projection screen, note-taking location, or reading area.

Lux is a metric unit of measurement. One lux is equal to one lumen per square meter, or 0.093 footcandles. (Used everywhere except the USA).

Footcandle The footcandle (fc) is also a unit of measurement for direct light. The footcandle is the US customary (similar to Imperial) unit of measurement. One footcandle equals one lumen per square foot, or 10.78 lux.

REFLECTED LIGHT MEASUREMENTS

Two units of measurement are commonly used in the AV industry to quantify reflected light: footlambert and nit.

DIRECT LIGHT MEASUREMENT

Using an incident light meter, one can measure the brightness of a light source. Three different units of measurement for incident light are commonly used in the audiovisual industry: lumen, lux and footcandle. way, but an ordinary candle nonetheless. The amount of light emitted from such a candle became the first and most fundamental unit of brightness. It is one candlepower.

By looking at a lighted candle at the centre of an otherwise darkened room, early scientists observed that: • Light energy radiates equally in all directions, creating a sphere of light around the flame.

• The further you get from the flame at the centre of the light sphere, the more the light energy is spread out, and the less light it appears to be radiating.

candela/sq m (nits): A measurement of light reflected off a screen, the value of which depends on the intensity of the light and the screen gain.

lux (lumens/ sq m): A measurement of light falling on an incident light meter at a give distance from the source.

Lumen A lumen is the measure of the quantity of light emitted from a constant light source across a one square metre area.

Lumens is the most common measurement used for describing the light output of a projector or light globe. Manufacturers state brightness in lumens in their product literature.

A higher lumen rating results in a brighter displayed image.

Different organisations measure lumens by different methods. The most common standard for lumens measurement worldwide is from the American National Standards Institute (ANSI).

The International Electrotechnical Commission has a similar standard, IEC 61947-1. Officially the two ANSI lumen standards, ANSI/NAPM IT7.228-1997 and ANSI/PIMA IT7.227-1998, were retired on July 25 2003. Nonetheless, most manufacturers still use them today.

Lux Lux is a combination of the words luminance and flux and is a measurement unit for direct

Nits, or Candela per Square Metre Originally, light measurements were based on a candle’s light output. Today, the International Standard of Measurement (SI) unit called the candela has replaced the candlepower standard. The candela is technically defined as the luminous intensity, in a given direction, of a source which emits monochromatic radiation with a frequency of 540 × 10¹² Hz and has a radiant intensity in that direction of 1⁄683 watt per steradian.

The Nit is the unit used to measure candela per square metre. A nit is equal to one candela per square metre.

Footlamberts The footlambert (fl) is the US customary unit of measurement for luminance. It is equal to 1/ candela per square foot. 

π

050

Termination Even better than the real thing?

Text: / Graeme Hague

thanks to the wonders of AV technology I get perfect sound, high-definition vision and cheap booze all in the best seat in the house… no not that seat What would you prefer to see and hear: the real thing or the whole thing?

We drew straws and my wife got to go to a Sting concert this weekend, part of his Symphonicity tour being held at a winery just outside of Perth (three hours away for us). It’s one of the perils of owning two large dogs, one of them big enough to steal the butter off the top of the fridge. You can never find acceptable kennels and your friends and relatives mysteriously stop answering the phone when word gets around you’re looking for someone to babysit the furry kiddies. So while my beloved is quaffing litres of chardonnay and throwing her undies at Mr Sumner, my fate will be to stay home and watch the Sting show on some DVD release later – on my wide telly playing through the loud stereo (a 5.1 mix please, Gordon) with a bucket of iced beers and a mountain of potato chips. Which means thanks to the wonders of AV technology I get perfect sound, high-definition vision and cheap booze all in the best seat in the house… no not that seat.

Yep, my wife pulled the short straw and lost – she had to go.

SIMULTANEOUS OR SIMULATION?

Okay, now we smash-cut to an event happening in a few weeks. The West Australian Opera is performing Donizetti’s The Elixir of Love in the Supreme Court Gardens in Perth with the WA Symphony Orchestra providing the grooves. At the same time in Bunbury, roughly 150km south, the opera will be ‘simulcast’ through a live feed on a huge outdoor screen at the local soundshell, complete with a zillion megawatt PA system providing – one would assume – a dedicated stereo submix of the concert. I’ve been threatened with the job of looking after the audio feed, a simple

enough task, except that after 20 years in backstage theatre you only have to hum a few bars of ‘I Am The Very Model Of A Modern Major General’ and I get very, very twitchy indeed.

It’s worth arguing over who is getting the better deal here, too. The audience in Perth will feel obligated to peer at tiny figures on a distant stage while the sound will be pummelled from pillar to post by the elements. In fact, I bet it rains. Once seated, the concert-goers can’t move in case they distract the performers, plus there’s always the risk of copping a crusty bread roll in the back of the head from disgruntled folks at the back... not much fun really. Actually, that’s not much fun in Italian with English sur-titles – why the hell don’t they just sing it in English?

Meanwhile the punters in Bunbury get full-screen, edited vision with zoom-ins to the singer’s tortured expressions and a loud, crystal clear stereo sound. They can move around, sneak off to the toilet for a fag halfway through an aria, the blokes can even swap a few fishing stories without being hushed by the missus – the SPL will be that impressive. You can’t do much about the wog lingo, but still it’s another victory for AV technology, you’d say.

TELE-BLOODY-CONFERENCING

There are some areas where AV is having a detrimental effect. Take tele-conferencing for example. Now, what would you rather do?

Go to a conference in Las Vegas and check out the lap-dancers, the casinos, the minibar on the corporate credit card, the funny drinks with tiny umbrellas – okay, you’ll have to stick your head into the conference itself some time... or would you rather sit in the office boardroom and watch every lecture, see every Powerpoint presentation,

hear every word, all streamed perfectly across the internet into a widescreen plasma on the wall? I know what your answer is and I’m guessing your boss is partial to the occasional lap-dancer, too. But the company bean-counters are going to have a different, more disappointing perspective. It’s a cruel, corporate world ruled by the almighty dollar. Damned teleconferencing! It’ll be the death of an age-old tradition – the pointless and expensive junket.

Seminar organisers have to rethink their strategies, too. It’s next to impossible to fill a seminar program with exciting, inspiring presenters. You’ll always have a duff speaker sometime. The thing is, in the past everyone still had to attend the mindnumbingly boring sessions in case you missed something important. Now, however, thanks to the omnipresent AV multi-camera and zoned audio feeds available in any venue worth its salt, you can watch the crap lectures from the bar. Brilliant! While you’re checking emails, writing notes and chatting up the cute waitress as well. Too bad about the empty auditorium seats – but hey, that’s what half-house curtains are for.

BETTER THAN A POKE IN THE EYE

So it’s back to the original question of what you’d prefer: the real thing or the whole thing? You’d have to agree that sometimes high-definition, hi-fidelity AV technology is making the data-streamed version a better experience than the live one. Just to prove it, I’m going to screen my Blu-ray of A Perfect Storm again tonight. Mind you, my wife’s going to tip buckets of freezing salt water over my head and slap me with rotting fish now and then as I watch. That’s only because we haven’t figured out a standardised data delivery format for that kind of stuff yet. I’m sure it’s only a matter of time. 

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